The Iranian Embassy in Washington, DC

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UNIVERSITY OF CINCINNATI

Date:______

I, ______, hereby submit this work as part of the requirements for the degree of: in:

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Chair: ______

The Architecture of Poetry: The Iranian Embassy in Washington, D.C.

A thesis submitted to the Division of Research and Advanced Studies of the University of Cincinnati

In partial fulfillment of the requirements for the degree of Masters of Architecture, 2007

In the School of Architecture and Interior Design College of Design, Architecture, Art, and Planning

Mercedeh Namei B.S.Arch., University of Cincinnati, 2005

Committee Chair: Jay Chatterjee Committee Members: Aarati Kanekar Vincent Sansalone

Abstract

An embassy is a symbol of unique cultural, social and political aspects of a specific country. Historically it becomes a place for a country’s representative(s) to communicate in a civilized and acceptable manner. Communications among embassies have traditionally been a great resource for international diplomacy that promotes peace and friendship. An embassy is an office building that specializes in diplomatic relationships and a great representative for one culture. Presenting a culture requires multifaceted revelation of its aspects. In the project Architecture of Poetry was derived from Persian poetry. In order to understand Persian culture and its classical poetry, the methodology includes discussion of Ferdosi’s Shähnmeh (The Epic of Kings). Persian poetry is deeply rooted in its history and culture. It was developed through centuries of repetition and practice. Understanding Persian poetry reveals layers of history, culture and traditions. It requires understanding structure, order and the metaphorical foundation of poetry as well as the reasons behind lyrics, meanings and characters. The Architecture of Poetry leads to a design that explores Shähnmeh’s poetry in addition to known embassy structures where the elements learned from each interweave to create the design of the Iranian embassy. The structure of poetry corresponds with the structure of the building, where metaphorical words have translated into interior details and materials of the façade. Poetry reading is a slow and gradual process, where punctuation becomes important to convey the message of poetry. The translated architectural elements from poetry are not literal; but they are very abstract. Metaphors of culture and poetry are revealed in the structure and details of the new embassy.

Acknowledgments To my mother, the oasis of wisdom To my father, the signature of freedom To my brother and sister, the models of talent and strength To Iran, the land of poetry

I would like to thank the University of Cincinnati and the College of Design, Architecture, Art and Planning for the greatest seven years of my life spent to be educated and supported by the best teachers, and having the advantage of being part of this institution.

Many thanks to: Jay Chaterjee, for his support and guidance in my vision during the thesis year Aarati Kanekar, for her understanding and concerns about representing a culture Vincent Sansalone, for his inspiration, encouragement and his knowledge on visual art and contemporary architecture

I would also like to thank: Gerry Larson, for his unlimited and flowing energy, his support and belief in me from the first day I walked in this college. David Saile, for taking the first steps in choosing a thesis topic. Adrian Parr, for being the guiding light on the topic of embassy and contemporary architecture. Ellen Guerrettaz, for her advice, support, and making the two years of grad school possible by keeping us informed. Nnamdi Elleh, for his inspiration, encouragement and interest in my thesis. Firooz, Susan Namei and Caesar for opening their heart and home to me. John E. Back, for his constructive criticism and long conversations on culture and architecture. Ann Hamilton and Haale Ghafori for educating me in the language of poetry. Persian Student Association, for the inspiration and support of Persian culture.

Table of Contents

Abstract 3 Acknowledgments 5 Table of Contents 6 Foreword: Poetry of the City 7 Embassy and Poetry 12 Concept of Embassy 13 Diplomacy and Embassy 15 Poetry and Environment 17 Passion and Poetry 21 Poetry of Shähnmeh 22 Methodology 25 Poetic Elements of Architecture 32 Gardens 33 Light and Color in poetry: Projects of James Turrell 37 Line and drawing: Projects of Ann Hamilton 40 Precedent Analysis 42 Dutch Embassy, Germany 43 Finnish Embassy, Washington, D.C. 60 United States Embassy, India 68 Iranian Embassy, China 75 Ali Qapu, Iran 83 Site Analysis 90 Grid and Democracy: Brief history of Washington, D.C 91 Massachusetts Avenue 94 Proposed Site 96 Proposition 98 Program: Space Requirements for embassy 103

The Iranian Embassy: Design Documentation 108 Memory of Façade… Path Punctuation of Poetry… Wall Abstraction of Culture… Space Appendix 119 Appendix A: International embassies in the United States 120 Appendix B: Transferred Culture 122 Appendix C: About Shähnmeh 126 References 132 List of Illustrations 133 Bibliography 140

Foreword: Poetry of the City

Driving through the narrow and congested streets of Tehran is an adventure every day. She can still imagine herself in their red 81 Toyota Camry, a young girl sitting beside her mother, as they explored the city. She enjoyed hearing her say, “We can go to bazaar today!” She knew instantly the day was going to be full of new experiences, and she might earn something out of it by the end of day. Maybe a necklace! What a rush! The warm summer afternoon on the streets of Tehran has a life of its own. She can still remember the smell of the Bazaar’e Tehran and dampness of the air as they would make their way in the Bazaar. They would walk among a stream of pedestrians and shopkeepers through cramped walkways in and among the stores. The pointed arcade and beams of light that fill the darkness through the random skylights seemed like your only guiding light in the deepest corner of the Bazaar and create shadows on the few rough brick walls. The smell of cooked corn and coal would raise and mix with the smell of still air in the Bazaar. The highlight of her adventure was to walk into the Bazaar’e Talaforooshan (jewelry stores). Both sides of this walkway were covered with jewelry stores, gold necklaces and earrings hanging from the stores’ fronts. They were dazzling before the dark background. Her first studio was their car, beside her mother in the red Toyota, and the interactions with the city were the lessons. They would critique any building— old and new, the materials, and the styles. Tehran Fig. 1- Bazaar Tehran, Iran is unique with the Alborz Mountains standing tall at the north side of the

city. The capital city represents Iran’s recent history, some events that happened before the revolution—Shah’s Palaces, parks, old neighborhoods, and bazaars—and the other dimension of Tehran after the revolution, building a new identity for a generation that has to experience the city at different stages in life. A contemporary city with skyscrapers, office buildings and boutiques would open over night, while on the other hand narrow streets and old sycamore trees represent the essence of the city. The prominent and active façade of the city is the offspring of a new generation of Iranians. What holds all the fragmented generations together is the culture of being Iranian and having the twenty-five hundred years of history to represent it. Today, one may ask this question: “What is the essence of being Iranian?” For sure one can testify that being Iranian is not a set of religious ideas or images represented in media. The image of a country can be tainted by political representation and ideological egos. Iran is strategically located among many diverse countries. It is located within the first civilized areas of the Middle East and later became a gate between the East and the West—the Silk Road—an inviting move for influencing the religion, arts and languages of Iranian culture. The initial part of this thesis is research and analysis of the most unique and traditional element of Iranian culture which has lead to the enigmatic and

Fig. 2- Kamran Diba, Tehran Museum of Contemporary Arts, 1977 fascinating language of Persian poetry—Shähnmeh, the celebrated work of Ferdosi, the Pre-Islamic poet.

Poetry in Iran reflects an aspect of the culture that was commemorated by the many, but not many could become elite masters in its domain. It took years of practice, study of previous masters and finding appealing topics to write about. The poets were not only master in creating poetic verses, but also they were masters of language. So, it seems practical that poetry stayed uninfluenced by changes that impacted most other arts. Poetry before the arrival of Islam be an example of the time when Iranian culture was free of confining religious ideas; specifically this poetry conveys interesting Iranian traditions. This project is to excavate some Iranian traditions that are not deluded with the contemporary image of Islamic art, and the translation of those specific poetic characteristics into architectural elements. Rather Fig. 3- Sho’ara (the Poets), Tabriz than taking the existing architectural elements in Iran, which are disrespectful of land and cultural heritage, the poetry can be the bridge that creates a new version of architecture outside its natural setting. The poetry of Ferdosi could be the DNA that has all the genetic information captured in its organization. Without translating words into literal images, the poetic words have a tendency to be translated into poetic architectural elements. For an architect, a well-designed building can be perceived in its poetic elements. An architectural element in an interior space, the surface materials of the facade or the setting of a landscape can become a poetic Fig. 4- Ferdosi and other poets at the court of Sultan Mahmud of Ghazna. Hadi Tajvidi move when applied in a way that captures sensitive moments. It is

possible to reverse this action by creating architecture from poetic verses, which become a mirror into a culture. Both poetry and embassies are tools for communication, languages to introduce and connect to an idea. Before introducing the more detail aspects of Ferdosi’s Shähnmeh, one should understand the concept for design of this embassy, the history of embassy building abroad and functions attributed to an embassy. Later an introduction to the Persian Poetry, one continue to understand the basis and history of poetry as a broader view for methodology.

Fig. 5- Tomb of Omar Khayyam the poet, Iran

Embassy and Poetry

Concept of Embassy Looking back at the original concepts in constructing embassies worldwide, there were the strategically planned and political attempts to develop relationships between two countries, opening up conversation and bridge cultures. The design of an embassy was historically a positive way for countries to communicate. The embassy is a unique place. First, it is an office building in a foreign country representing international resources, customs and cultural ideals. Second, this building represents artistic values and traditions of the absent country. Historically, embassies have been built as headquarters for an ambassador and his/her staff. This building is used as official place for the ambassador, who is the executive messenger or representative charged with fulfilling assigned tasks and handling international as well as diplomatic affairs in foreign country. Ambassadors lead the embassy. They are highly knowledgeable in political science, international laws and economics. They are skilled in speaking many languages, and with manners and discipline in multi- cultural interactions. Ambassadors and the embassy team use diplomacy to obtain certain goals. Each embassy is lead by an ambassador, consular, secretary and team of other officials. The basic tasks of an ambassador and the staff are (following U.S. standards):

• Prevent war

• Keep dangerous weapons out of dangerous hands • Advance democracy, human rights, and the rule of law • Open up economic opportunities • Fight terrorism • Keep drugs out of a country • Promote the safety of citizens abroad • Combat global poverty • Help refugees • Create a healthier world1

Today, to establish the cross-cultural relationship among civilizations, an embassy welcomes all visitors for processing their visa applications as well as it teaches about the specific culture. Some of the most common Iranian sections of each embassy are:

• Scientific Section • Economic Section • Consular Section • Cultural Section • Administrative Section • Political Section2 • Press Section • Consular Section • Higher Education3

1 U.S. Department of State. Electronic Information and Publications Office, Diplomacy at Work: A U.S. Embassy. http://www.state.gov/ (accessed April 23, 2007). 2 The Embassy of the Islamic Republic Of Iran in Australia. Embassy Sections. http://www.iranembassy.org.au (accessed April 23, 2007). 3 The Embassy of the Islamic Republic Of Iran in Ottawa, Canada. Embassy. http://www.salamiran.org/content/index.php?option=com_content&task=view&id=126&Itemid=195 (accessed April 23, 2007).

Diplomacy and Embassy The present relationship between the Middle East and Western countries prevents any interaction that bridges these countries together and has created a hostile environment, where a cross-cultural awareness is lost on both sides. During the past twenty-five years, after the Islamic revolution of 1979, the relationship between Iran and the West has deteriorated deeply. The detachment of two cultures can be traced to the failure in international union and misunderstanding of cultural values. A non-existent political and international interaction, which is the creation of this relationship, has created a need for sharing cultural beliefs, ideas and artifacts of each culture. Overcoming friction in international and political interaction—caused by cultural separation—requires a better understanding of each side through effective communication. With understanding the problem from both sides, one can develop an architecture for ways in which an embassy and a cultural center will be designed for Iran in the United States in Washington, DC. Designing an embassy for Iran in the United States is a way to reinvent the concept of an embassy by reconnecting the relationships, and reintroducing the two cultures to each other. The embassy is not only an office building; it directly represents the cultural values of one country in another. For that reason there is the great opportunity for designing a building that not only represents a cultural image abroad but Fig. 6- Concept Collage, two cultures interweave also encourages the blossoming of diplomatic relations. Embassies are

thought to “symbolize the openness of public diplomacy.”4 Beyond the misrepresented affairs of states and politicians, there is a great chance for a better future for the two countries, and this embassy is a first stride toward such a future. One might ask about representing Persian cultural values in the design of a cultural center. Cultural centers function as museums, which usually are dedicated to one culture. These centers exhibit artifacts and art of one culture based on a specific timeline or regional differences. On the other hand this project is avoiding the representation of typical “Oriental” culture. Edward Said in his book Orientalism explains that the creation of the Oriental was a manifestation of the Occident. The occidental governments have “gained in strength and identity by setting [themselves] off against the Orient as a sort of surrogate and even underground self.”5 Representing art and history of a country outside their original settings, and without understanding its origins or cultural background, is an example of what Said calls Orientalism. Usually the exhibited cultures are compared to the hosting country. Rather the design of this embassy puts aside the historical and political relations of the past to reinvent the concept of an embassy for a 21st century Middle Eastern country in the United States.

4 Jane C. Loeffler, The Architecture of Diplomacy: Building America’s Embassies. (New York: Princeton Architectural Press, 1998), 3. 5 Edward W. Said. Orientalism. (New York: Vintage Books Edition, 1979), 3.

Poetry and Environment Iran was a suitable environment for literature to flourish. One reason was that the Silk Road went through Iran and brought not just wealth to the country, but also new people with new perspectives. This path connected east to west for the transfer of goods from the Far East to Europe. In simple words Iran became a place for merchants to trade goods, communicate, do business and buy whatever they needed. So in some ways Iran became a gate for cultural interactions and the development of traditions and literature. Another reason was the repetition, specifically repetition of examples by masters of poetry. Wheeler M. Thackston explains it in the introduction to A Millennium of Classical Persian Poetry: “Because poets were expected, as Nizami Aruzi observes, to have read practically the entire corpus of Persian poetry before they ever composed their first poem, and because refinement of existing conventions was valued, not innovation, the tradition is cumulative and built upon itself.”6 And as Nizami says, “A poet cannot reach such a degree [of effectiveness] unless during his youth he learns twenty thousand lines of ancients’ poetry and passes before his eyes ten thousand lines of the moderns. He must continually Fig. 7a&b- Silk Road, Connection from Asia to Europe peruse the divans of masters and remember how they get themselves into

6 Wheeler M. Thackston, A Millennium of Classical Persian Poetry, X

and out of tight spots in poetry.”7 The classical poetry is the evidence of a philosophical manner that Iranian poets believed and were trained to write about. Persian poetry has weaved its roots within the culture. It uses metaphors and mysticism to embody desired emotions within a story. Thackston continues in the next paragraph: “the metaphorical language of poetry also developed within the cumulative tradition. What began initially as a smile, lips as red as rubies, for instance became so commonplace and hackneyed after thousands of repetitions over the decades and centuries that in the end the smile was scrapped, and ruby lips became simply rubies. So also tears that initially rolled down the cheeks like pearls became, in the end, simply pearls, while tears that glistened like stars became stars.”8 To the audience these metaphors were understood because they were repeated in many poetries over time. The composition of metaphors within a line embellishes the body of poetry and it fills the work with meaning and aesthetic values. In the design of this embassy metaphors will become design elements or materials that convey a meaning that relates to those metaphors, such as lifting the body from earth to the sky. This metaphor relates to a body ascending a set of stairs.

7 Ibid., IX. 8 Ibid., X.

The proposed Iranian Embassy will be built among other foreign embassies in the northwest of Washington, DC. The site is located on Massachusetts Avenue, near the forested area of Rock Creek Park. The most important feature of this site is its closeness to other embassies. Other important features of this location include:

• The site is situated near the Potomac River and Rock Creek Park. • The site is surrounded with forested area. • The site is slightly sloped. • Easy access to the Washington, DC metro system. • Short distance to downtown, George Washington University, and other main landmarks of the capital. Based on learned materials from other precedents in designing an embassy, this building would be representing many vital factors surrounding it. Other than design, structure, and material the location of this site should be the initial design factor. We cannot ignore the fact that this embassy will be built in one of the most important locations in the United States. There are numerous landmarks and museums surrounding the site. It would be interesting to look at the concept of a culture within another culture, to show the positive aspect of this political accuracy through the design of an embassy. In this project the Persian architecture will not be a mirror image of traditional architecture, where it was developed in centuries of practice and cultural needs. This Embassy is a

translation of Persian poetry into architectural form as influenced by its site, context and concepts derived from poetry to embody what is envisioned by the author in the form of words into architectural elements.

Passion and Poetry

Poetry of Shähnmeh The research and knowledge of Persian poetry has led toward translation of the language into visual elements, specifically translation of stories within poetry into miniatures paintings, typography and calligraphy. The translation starts by excavation of the hidden layers of one culture, looking at its legacies, which in this case is classical Persian poetry. The focus will be on understanding Persian poetry and excavating some aspects of poetry that could be translated into architecture, and finally a building that represents contemporary Iranian architecture. Choosing one poet out of many significant others who had a great impact on Persian poetry is a complicated and long task, because there are many celebrated Iranian poets whose work would be a great exploration. Out of many poets the work of Hakim Abu’l Qassem Ferdosi was chosen. For the past thousand years, his greatest masterpiece has been a wonderful example of Persian heritage: Shähnmeh or The Epic of Kings has been one the most popular pieces of poetry in Iran and beyond (his work has been compared to European writers such as Shakespeare and Dante). Thackston reminds the reader that Shähnmeh is called the “last great work of pre-Islamic Iran”.9 Ferdosi wrote poetry out of his passion for Persian culture, and his interest to save Iranian Fig. 8- Shähnmeh, The story of Haftvad and the worm, Dust Mohammad culture and traditions within his poetry. It is said in his biography and in

9 Thackston, A Millennium of Classical Persian Poetry, 4

the Shähnmeh he repeatedly relied on Iranian myths, heroes and history to capture the Iranian culture. He specifically spends most of his adult life and (up until old age) writing the Shähnmeh. His goal in writing the Shähnmeh was “hope for reviving and strengthening Iranian Nationalism and immortalizing his own name by preserving in a most moving and melodious style of epic poetry the memory of those who shaped Iranian history and defended Iranian heritage.”10 His struggle was to write about the things that seemed meaningful, ethical and Iranian against the emergence of foreign cultures in Iran. In the last section of the Shähnmeh, he calls out the arrival of Arabs and Islam in Iran and what he describes as “the army of darkness”. Shähnmeh, as it is present in its title, is a reflective narrative about the lives about the Iranian Kings, their characters and legacies. One popular section of the Shähnmeh is about the mythical Iranian hero, Rostam, the king of the kings. Rostam’s Seven Epics, the narrative story from birth to death, depicts the ideal hero. Considering the mythical individual, such as Rostam, he begins to be part of the historical event and becomes a strategy to reference the social changes. On the one hand, Rostam becomes a provocative element of mythical narrative. This Fig. 9- Shähnmeh, Nushirvan receives an embassy from the imaginary character represents an ideal hero and the story of a country. king of Hind On the other hand, in the discourse of the Shähnmeh, Rostam’s epic

10 Ferdosi Society, Ferdosi. 1998. http://www.ferdosi.org/WWW/flife.html (accessed April 23, 2007).

becomes an “object” and topic of reference for the purpose of Iranian Nationalism. In some ways, the narrative of nationalism is a combination of nostalgic, idealistic and dramatic incidences of one country faced with drastic political and cultural changes.

Methodology “The Shahnameh is an impressive monument of poetry and historiography, being mainly the poetical recast of what Ferdosi and his predecessors regarded as the account of Iran's history.”11

Fig. 10- Statue of Hakim Abu’l Ghasem Ferdosi, Mashad Fig. 11- Ferdosi’s Tomb, Mashad

11 Ferdosi Society. About Shahnameh, http://www.ferdosi.org/WWW/fshahnameh.html (accessed April 23, 2007).

(Refer to Appendix C for more information on Shähnmeh) Designing an embassy requires extensive research and strategic planning. A profound level of research might be dedicated to the study of an embassy building program, occupants’ needs, public and private spaces, as well as a unique methodology. Renata Holod, in The Architecture and Community, states that a building within an urban environment has four major characteristics: “It stands as a landmark, it transmits a message, it performs a function, and it fulfills a need.”12 In this case, the design of the embassy not only performs as an Icon, but also requires representing two different cultures on one site. In my methodology to understand the Persian culture better, author has drawn from Persian poetry. Persian poetry has a long and deep root in history and to the development of Iranian cultural heritage. It was developed through centuries of repetition and practice and has weaved itself into the culture is traditions, thinking, philosophy, literary values and politics of the moment. The tradition of poetry writing goes back in Iranian history where social gatherings were focused around conversations about nature, philosophy and God. Poets followed poets in style, and most read thousands of lines poetry of the masters before being Fig. 12- Cover of Shähnmeh considered poets. Thackston writes that: “It has been written in gold,

12 Holod, Renata and Darl Rastorfer, Eds. Aga Khan Award for Architecture, Architecture and Community: Building in The Islamic World Today. (New York: 1983), 46.

poets have had their mouths stuffed with precious gems for an apt line of poetry, and the uncivilized have measured with their progress into civilization by their ability to quote Persian poetry.”13 Understanding Persian poetry reveals layers of history, culture and traditions. So, it requires an understanding of the structure, order and foundation of poetry as well as reasons behind metaphors, meanings and characters. The basis of this thesis will be organized around two main concepts that are taken from Persian poetry: structure and philosophy.

Fig. 13- Diagram of Shähnmeh poetry, Line and hemistich in The structure of poetry varies from one poet to another and usually differs by national periods. Ferdosi’s poetry is structured very precisely over metaphorical words, and they usually have deep symbolic meanings that might embody humanity’s greatest moments as well as darkest stories. Ferdosi writes in classical style, and the classical Persian poetry is much unified in structure and follows certain rules. Verses are usually balanced in form and symmetrical in the organization of words. Written from right to left, Persian poetry consists of lines that are parallel to each other. The composition of poetries are made of “hemistiches and lines”. Two hemistiches make one line, which creates a pattern and repeats with Fig. 14- Diagramming the structure of poetry, two hemistiches become one line and lines making the poetry with parallel a certain beat. One line trails the other one in completing the structure of composition; a place to enter and a place to exit the poetry poetry. In Ferdosi’s poetry specifically, the complete meaning of an idea

13 Thackston, A Millennium of Classical Persian Poetry. IX.

is achieved in two lines (Fig. 17). For example in lines fourteen and fifteen of Aghazeh Ketab (Opening of the book), he says: (Translation) Ability is achieved through knowledge. The knowledge that fills heart of old with youth There is no knowledge more rewarding than this statement and there is nothing in my mind than this knowledge

He put forth an idea and he completes that idea in the first line. Then in the second line he accentuates the first idea and completes it in Fig. 15- Diagram of movement and long the second hemistich. At the end of his poetry there is always a complete punctuations in poetry and whole meaning, compare to modern poetry, which flows more easily with less metaphor and surfaced meanings with more common words and grammar. The structure of poetry can be compared to the structure, program and organization of a building. They both follow certain guidelines and rules to be able to convey whole sense. Each poet writes in sections based on the type of poetry. These sections vary in length and meaning, but they usually follow the same story line. Structural characteristics of the Shähnmeh are: • Symmetry • Formal construction • Sections and chapters • Line and hemistich • Order and words Fig. 16- Diagram of smooth movement in • Forms and Rhyme Poetry • Rhythm • Punctuation (short, semi-short and long punctuation)

• 4 rhythmic hemistich, complete meaning in four hemistiches or two lines

The philosophy of poetry is another influential role in the format of poetry. The structure of poetry has a lot to do with the writer, timeline and meaning. Traditional poetry hides its deeper meaning under layers of stories and metaphorical words. These metaphors replace actual events and characters, and embellish the body of poetry with elaborate meanings in a way that becomes sensual and florid. Layers of poetry reveal layers of culture, history and manners—in some cases they were Translation: Ability is achieved through knowledge. The knowledge that fills heart of old with youth exposing the spiritual beliefs of the poet. Storytelling greatly consisted of There is no knowledge more rewarding than this word and there is nothing in my mind than this knowledge. the most amazing and treasured poetries such as the Shähnmeh, The Epic of Kings. Thackston explains: “one of the major difficulties Persian poetry poses to the novice reader lies in the pervasion of poetry by mysticism. Fairly early in the game the mystics found that they could ‘express the ineffable’ in poetry much better than in prose. Usurping the whole of the poetic vocabulary that had been built up by that time, they imbued every word with mystical signification. What had begun as liquid wine with alcoholic content became the ‘wine of union with the godhead’ on which the mystic is ‘eternally drunk’.”14 In an example from the Shähnmeh, in lines fourteen and fifteen of Aghazeh Ketab Fig. 17a& b- Shähnmeh, 2 lines from first part of Shähnmeh, (Opening of the book), Ferdosi refers to the wisdom that fills the heart of

14 Thackston, A Millennium of Classical Persian, IX.

an old man with eternal youth. He doesn’t use the word “youth” directly but he does use the word that is more metaphorical. Borna is a bird, but Ferdosi uses it to refer to eternal youth. The sensual metaphors in poetry can be labeled the sophisticated details in an interior or exterior space. As feelings, emotions and senses are expressed in verses and lines they can be related to colors, lights and texture of materials in a building. So understanding the poet’s work has a lot to do with the metaphors that elaborate the story, as an architect needs to be understood through the built work and constructed detail. Through words poets attempt to connect to the truth to tell the listeners as architects do with design of a room. Architects use various materials and elements that become connections between occupant and space. Those materials express reasons behind the function of rooms as the words of the narrator convey reasons behind the narrative. The philosophical characteristics of Shähnmeh are: • Metaphors • Subjective meaning • Objective form • Sensual and colorful • “Mythical, historical and Epic”15 Fig. 18- Diagramming metaphors in poetry, where they stand out of

structure and embellish the storyline (Yellow boxes). The structure • Focus on wisdom, truth and ethics follows the same rule mentioned in the text. • Preserving Persian language and traditional poetry

15 Refer to Appendix C for more information on Shähnmeh.

The more modern version of Iranian poetry has a looser structure, less use of metaphors and in a straightforward manner for conveying meaning. Forough Farokhzad and Sohrab Sepehri are some of the best contemporary poets who have mastered the modern Persian poetry. Their poetry has the essence of political satire and well as the turmoil of the daily life that each experienced. These poets use sentences and more common words to get to the point. The technique has been used for the past century, and Farokhzad and Sepehri are two individual poets who use this technique. In a lecture the contemporary poet and singer Haale emphasized that “the poetry of Forough Farokhzad and Sohrab Sepehri have streaks of structure and philosophical dept which is varies in use from that of older traditional works of the poets such as Rumi and Ferdosi”. By understanding essence of poetry one understands the connection between the structure and philosophy of poetry and architectural elements. It all has to do with experiencing the spaces and realizing the impact that details create on users. It is very similar to entering the domain of poetry and letting words influence your emotions and thoughts.

Poetic Elements of Architecture

Garden Bagh, Paradise and Eden have been used repeatedly in poetic verses to describe a scene or place that embodies elements of nature within, but is yet a step higher than the natural world. In the physical world, a place associated with heaven is an indirect attempt to reflect a world, organized and ordered nature that becomes a testimony to a desired place, sensual and unearthly. Historically, gardens are part of a property with limiting boundaries, separated from the eye of the public. The garden’s inner beauty—resemblance to heaven— is revealed to a selected few. Gardens are associated with protected and private places so these selected few could wonder around and taste the pleasures of unearthly life. As a definition a garden is an “ornamental natural space, an orchard, or even kitchen garden, all three elements possibly being unified in one and the same place.”16 So there is a fine line of resemblance/difference between the places that a garden or few lines of poetry represent. One walks through both, slowly finding meaning and inspiration by deep observations. The first line of poetry is an indication of the entrance to a body of work that make one read through the next lines, finding stories, expressions or Fig. 19 a &b- Hasht Behesht, or the “Eight Paradise”, the recently renovated pavilion stands in the middle of a garden, Isfahan words from the poet’s heart.

16 Yves Porter and Arthur Thevenart, Palaces and Gardens of Persia, (Spain: Flammarion, 2004), 59.

In a way a garden indicates a similar character, but does not so more physically. A gardener has planned the way to present a garden— the way one enters the garden at a certain point—and even though there is an indication of some expected features, the viewer is always looking for unexpected features, a fountain or a piece of art. There is always a place to interpret more in both poetry and a garden. Hidden layers of meanings and wisdom are revealed while carefully reading poetry as one might find wondering through a park. There perfection that a poet creates in a work becomes a garden, expected and unexpected; all are part of the beauty of a piece of poetry. They both start with the indication of letting the observer know that they are entering a certain domain. The language is familiar, but it conveys a deeper meaning by the fact that it is not straightforward and invites one to dwell on the details and seek to understand more in conveying meanings at many levels of human experience. Even though one is more physical and the other requires a certain knowledge of metaphors and language, both can translate into a poetic experience. In certain cultures, specifically Iranian, gardens (Bagh) have been used repeatedly for private and public use. The reason for developing an area to represent a poetic character has roots in history, Fig. 20- Pavilion and pool of Fath ‘Ali Shah, Nineteenth century where it reflects ones dependence on nature.17 The design of the

17 Nader Ardalan and Laleh Bakhtiar. The Sense of Unity, 68.

courtyard is generated directly arrives from the same idea, where the perimeter of the garden not only becomes separated from the public view, but also becomes part of interior space. It serves a different set of tasks, being a space that is enclosed and blocked off for personal use only. Both gardens and courtyards are functional parts of a residence or any building expected to function as a gathering place. In fact these are examples of domesticated wilderness allowed within an urban dwelling. The ideal form of a garden has to create a multi-dimensional movement to function and be accepted as a complete form. Ardalan introduces the movements attributed to a Hasht Bihisht, garden of “Eight Paradises”, built during the Safavid dynasty. He explains that there are two main movements: “one has a centrifugal movement outward into the paradise of nature and a centripetal motion inward, through its four porches, to the basin of water and the fountain, its spiritual center.”18 There are elements that are associated with the Persian garden. These elements are trees, water, boundary and sculptural elements. What makes the combination of these elements poetic within the realm of our understanding? It is obvious that making a garden represents a symbolic gesture or sophisticated style, or remaking an ideal form beyond our reach. But within the act of building one emphasizes reaching peace. Fig. 21- Miniature of a Garden, Building, Understanding a garden requires experiencing it. This experience boundary, garden

18 Ibid., 68.

involves roaming within its boundary and seeing its wonders to understand it. Water in the Persian garden is the oasis, a destination. The trees are the fruit-givers, providing shade and shield from sun. They are the language of a garden and by looking at them the purpose is revealed. The influence of a garden and open spaces on a building is greatly sophisticated. The elements such as types of trees and their arrangements to accentuate the form of the building they surround have something to do with a connection to nature and spirituality. The elements of garden that contribute to the formal atmosphere of building are not the only poetic elements in architecture. Other architectural elements such as light and color are also the contributing poetic elements in interior spaces of a building. In the next chapter example of artist work such as James Turrell and Ann Hamilton gives a better understanding about poetry in architecture and sensitivity in working with poetry, which requires understanding the essence of spaces and verses.

Light and Color in Poetry Color is the place where the mind and the universe meet.19

Light, color and space are the elements used in architectural works to emphasize a certain meaning or feeling. Light is considered poetic because of its freshness and the feeling it creates after darkness. It is playful and sudden, always changing and navigating. Light accentuates its presence with color, which in combination becomes poetic and affective. James Turrell, a visual artist, has used light in his projects such as museum exhibitions, small and extensive architectural projects. He uses light as if were an object, where he manipulates it with colors and freezes time to convey story. In a way he lets the light project and over the space, where it becomes a place. George Didi-Huberman, in his essay A Fable of The Place, arrives a similar conclusion. He explains that light is relative to the passage of time:

Then light becomes space and the place is a substance that our body crosses, to experience its enveloping caress or breeze. The object of vision, habitually in front of us, becomes the place of

Fig. 22- Tadao Ando and James Turrell, Chichu Art Museum, Sky lights. Japan

19 Paul Cezanne, James Turrell: The Other Horizon, Peter Noever (Ed), (Vienna: Cantz, 1999), 18.

our seeing. We are inside it. And yet this place presents itself only as a pure and mysterious tactility of light.20

A similar characteristic that most Terrell’s projects have in common is that the light and color usually take over the space. One standing in the presence of such a project becomes overwhelmed with strange feelings, accentuated with extreme color. To him experiencing the space saturated with light is opening the vision into the other side of it, where beams of light create a space disregarding the physical walls. Turrell talks about his technique in using light:

One of the things in architecture is that, generally, people are making forms and not spaces. People make space by making forms and then stick the lights in. That doesn’t get you the working of light into space and often the openings—the way lights is let into a space—are completely arbitrary or oriented toward a view or the amount of light to come in. It is rarely done in the way that light activates the space and makes it alive—so that you get space filled with atmosphere.21

He presents the light as a tangible form, not to be touched by

Fig. 23- Tadao Ando and James Turrell, Chichu Art Museum, Window, hands, but rather sensed it with space. His projects are usually simple Japan leaving one to interpret based on perception. Light has a very certain

20 Daniel Birnbaum, George Didi-Huberman, Michael Rotondi, and Paul Virilo. James Turrell: The Other Horizon, Peter Noever (Ed), (Vienna: Cantz, 1999), 48. 21 Ibid., 195.

character, being illuminative, sensual and (according to color transmitted.) creates a feeling for us. To Turrell light also is complex, intelligent, performative, disorienting, and sensitive. Natural light is as functional and useful in his light work as artificial light for creating space to perform or to transmit a message. The concept of each project is different and it requires a flexible plan to contribute a successful ending. Some are extensive and permanent—such as lighting the exterior of a historic building—and some are only small temporary exhibitions for museums. To him the context of a project matters most, knowing when to stop the project for not overshadowing any particular aspect. Daniel Birnbaum, Turrell’s work “is light and perception”.22 He explains: “his installations manipulate the conditions for our perception rather than present objects of aesthetic contemplation.”23 One does not think about the space any more, rather light is attracting all the attention, leaving us mesmerized, looking back at it. The source of light is usually hidden behind walls or installation, and we see only the reflection of it filling the space.

Fig. 24- Tadoa Ando and James Turrell, Chichu Art Museum, Floor pattern, Japan

22 Ibid., 227. 23 Ibid.

Line and Drawing Few visual artists have emphasized the art of poetry in their work. Very similar to Turrell, the visual artist Ann Hamilton is recognized as a practicing master in this field. In her past projects she became interested in the natural character of materials such as the fluidity of fabric and line drawing. She has used this theme in few of her projects because she sees a similarity in both elements. Hamilton studies textile design at the University of Kansas and Yale University. She received her degrees in sculpture, textiles and fabric design and has been producing exhibition pieces, photographs and sculptures for museums.24 Specifically in the Ghost…a boarder act she focused on “Line and Thread”. The installation was put together in an old textile mill in Charlotte, North Carolina. This installation allowed the rotating camera to project a close up written line on hanged fabric around the room. She says this project is about “Thread of line, line of writing and act of making”. She is interested in the connection between a line of writing and a line of drawing, ways to translate one to another and enhance the idea of making. In a conversation with Hamilton, she shared her opinion on the topic of poetry and architecture. The question surrounded this thesis Fig. 25a&b- Ann Hamilton, Lineament, 1994-96

24 Ann Hamilton, Art:21: Biography, http://www.pbs.org/art21/artists/hamilton/ (accessed April 23, 2007).

topic: “What is the approach from translating poetry into architecture?” She wrote:

One never translates the other Each has its own form Perhaps they might Hold or inspire one another

Perhaps both architecture and poetry Can make for public speaking For the speaking that needs saying Needs a space for saying What isn’t or can’t be or hasn’t been said

Can give form to the opportunity or circumstance For this need to say

I think there is a relationship between a page, a book and a building Forging the link-without illustrating it is perhaps the task of making25

Fig. 26- Ann Hamilton, Ghost…a boarder act, 2000 The poetic elements in architecture combined with elegant details that are achieved through studying precedents in the similar field, creates a path toward design of a building that is poetic in essence. The precedent analysis provides examples for successful architecture in the United States and abroad.

25 Ann Hamilton, interview by Author, April 23 2007

Precedent Analysis

Building: The Dutch Embassy Where: Berlin, Germany Architect: Rem Koolhaas Completed: November 2003

The analysis of the Dutch Embassy has captured the importance of contemporary ideas in design of an embassy for twenty first century. Understanding the site, context and history of one place in combination with materials that represent it can create a building with fascinating details. Fig. 27- Rem Koolhaas, Dutch Fig. 28- Diagram of Embassy, Berlin, 2003 movement In studying the Dutch Embassy in Berlin, I focused on the programmatic design elements and cultural representation. Francois Chaslin in Psychogeography of a Cube looks at the Dutch Embassy and the urban environment of Berlin. This project offers a refreshing new concept to rethink and design a symbolic building such as an embassy. The architect, Rem Koolhaas, designed the Dutch Embassy in Berlin after he won the commission in 1997 from the Netherlands Ministry of Foreign affairs. The site faces the Rolandufer Park and the Spree Riverfront. The program consists of 8,500 square meters of overall building space; 4,800 square meters of office space; 1,500 square meters of housing; and 2,200 square meters of parking. 26

Fig. 29- Diagram of relationship

26 Rem Koolhaas and OMA. The content. (Taschen, 2006), 531.

In Psychogeography of a Cube27, Chaslin describes the Dutch embassy in a poetic way, where he sees the building as a living organism. The interior of the embassy consists of cubic spaces that fold into each other and create a playful feeling throughout the building, while the exterior facade displays a tranquil appearance. This building focuses on bringing two cultures closer together and symbolizes the individual characteristics of two nations. On the one hand, it represents the Netherlands’s philosophy of life, progressiveness and tolerant. On the other hand, Germany struggles for balancing society after war and the socialist era. The Netherlands seeks better political platforms within Europe, while Germany wishes to gain back the past glory of its pre-war time.

Fig. 30- Rem Koolhaas, The Dutch Embassy, Site Plan

27 In Psychogeography of a Cube, the photographer, Candida Hofer, captures the essence of the Dutch Embassy with images of the interior and exterior. In these images, she shows the various features, different areas, and remarkable work of the architect in application of materiality and detailing to the design. These images reflect the simplicity of interior spaces, and interaction of surfaces.

Both countries are redeveloping their relationship and political views within the design of this embassy. In the preliminary design, Koolhaas demonstrated a multidimensional theory derived from Dutch and German culture. Chaslin explains that both cultures are lively and energetic with both reaching out to re-establish their relationship. He explains that the design of the Dutch embassy is for others to “understand Berlin better.”28 This embassy celebrates the freshness of the moment; it steps back from the political and historical circumstances to present the culture of both countries. The new Dutch embassy in Berlin is a unique building, first because its design is exceptionally different from the past examples of an embassy building. Secondly, exposure to use of unconventional materials makes this building stand out from the surrounding neighborhood. In the book the Content, Rem Koolhaas explains the project in his own words: The project carves the single structure implied by Berlin’s regulations in two parts- a wall and a cube. The carving continues inside the building, creating an erratic path from bottom to top, surrounded by regular office accommodation. The trajectory captures salient elements of Berlin’s architecture Fig. 31- Rem Koolhaas, The Dutch Embassy, Trajectory outside-19th century, Nazi, communist…29

28 Francois Chaslin, The Dutch Embassy in Berlin. (Rotterdam: Nai, 2004), 27. 29 Koolhaas, The content, 370.

With this statement Koolhaas is emphasizing the term “freshness of the moment”, which inspires most of the designed elements. Berlin is stepping away from past political struggles and is moving forward in rebuilding the future. He has translated it into design elements. One of these interesting design elements is the west façade, where the so-called Skybox hangs over an atrium space. The skybox is a meeting room surrounded by a curtain wall that overlooks Berlin’s skyline. Any activity in this room is visible from the lower atrium and other levels of the building. The design details, such as trajectory and skybox, are the elements that challenge the design of an embassy, bringing in a new perspective to the fundamental and traditional concepts. For Germany, reestablishing its urban identity, once again, required various components of revitalization needed to replace what was lost in WWII. During the years of war, most neighborhoods had lost their image identity due to a hostile and destructive environment. Separation of the city into two sectors by the Berlin Wall prohibited the advancement of the city, especially East Germany. For him to understand the city of Berlin better, Koolhaas worked closely with local urban planners on the initial design concepts. Designing an embassy for the Netherlands in the former East German neighborhood was a strategic way for reestablishing the cultural and political relationship of Berlin itself and

Fig. 32- Rem Koolhaas, The Dutch Embassy, Street View, Berlin, 2003 neighboring countries.

The materials used for the exterior of the building are glass and perforated aluminum plates, so the structure is pronounced through the transparent skin of the façade. The solemn play of light and shadow through the transparent skin generates an organic and lively space within the intertwining corridors and rooms. Another unusual characteristic of this embassy is the gradual transformation of parts and elements inside the building. For example, the ramps transform to stairs and the whole building becomes a trail that is ascending its way to the top, where offices and rooms are built at both ends. 30 This ramp begins from outside Fig. 33- Rem Koolhaas, The Dutch Embassy, Interior of Trajectory and gradually continues its ascent to the upper levels. It starts from the sidewalk, the Klosterstrasse Street, and separates the ambassador’s residence from the Embassy building. As it enters the building it forms the entrance hall/reception area and wraps itself around the building, where in parts the transparency of the glass indicates the path of the ramp. Koolhaas identifies this ramp as “Trajectory”, a path that travels in three dimensions.

Fig. 34- Rem Koolhaas, The Dutch Embassy, East Façade

30 Chaslin, The Dutch Embassy in Berlin. 40.

Embassy, security and accessibility In the book Architecture Today James Steele looks at the Dutch architect Rem Koolhaas as one of the leading European architects in the understanding of urban life. Koolhaas does not work within a certain style, but rather he is interested in the delicacy of the urban history, growth and future development of a specific place. He has written a few books about topics on utopia, politics and architecture. In his book, Delirious New York31, he focuses on the “pattern” of life in a complex city New York City. To him, the scale of the project is not as important as his obsession with joining the past and present to make the future, as well as making bold moves in architecture. His built projects have become, in some ways, a testimony to his ideology in architecture where he constantly strives for big and aggressive moments. Koolhaas writes: “the irony is that the obsession with history and specificity has become an obstacle in the recognition of these [people and communities] new realities.32 In his statement, Koolhaas shows that he is conscious of contemporary styles while having sensitivity for place. Some architectural critics see him as a “deconstructionist”, whereas Steele Fig. 35- Rem Koolhaas, The Dutch Embassy, West Facade categorizes him as a “New Modernist”.

31 Delirious New York, written by Rem Koolhaas, in 1978. In this book he analyzes and celebrates the pattern of living in New York City based on architectural history and interaction of people with the city. 32 James Steele, Architecture Today. (New York: Phaidon Press Limited, 1997), 328.

The design of the Dutch Embassy in Berlin is one of the latest projects that proved practicing architecture based on theoretical ideology. Koolhaas has “re-invented” the concept of an embassy. Even though embassies function as peacemakers and places for international communication, in the traditional sense the embassy is a secure office building that separates itself from the urban fabric and social interaction, contradicting its function. These buildings are highly protected and attempt to keep the public off the property as much as possible. The approach to the building is usually off of the side streets and, for the protection of its occupants; there is less window penetration. In most countries, embassies are placed in town houses so they can blend in to their surroundings, and not stand out as a target for terrorism. For the most part, the interior and exterior—function and design—of these buildings have no relationship to each other. To Rem Koolhaas, building a new place to practice democratic principles is a key to “re-inventing” or reconstructing the traditional concept. The last thing he wishes is to employ dividing elements in a building that is trying to re-introduce both Dutch and German culture. In my research I noticed the strategy behind designing this embassy was Fig. 36- Rem Koolhaas, The Dutch Embassy, Trajectory’s Glass based on the following details: Walkway • Berlin’s history and the site • Dutch design elements • “Re-invention” of embassy building with “bold” moves

In the design of the entrance, for example, he uses the Dutch design elements as a strategy to create a welcoming entry as well as a secure area based on required codes. The entrance starts at the Klosterstrasse Street where the Trajectory begins to elevate. Through this technique, the sidewalk flows into the building, but the elevated corridor is an indication of the separation of the embassy’s spaces from the street. It indicates that one space has ended, and the visitor is entering another space. The design of the trajectory allows the security of the reception area, as well as unobstructed entry into the embassy. To secure the entry, the reception area is hidden behind the twisted path of the trajectory. So the “re-invention” of the qualities— secure and inviting— is reflected in sensitive elements of the embassy. Koolhaas, with his design of the Dutch Embassy, has changed the way we look at embassy construction. Each embassy has extreme codes for the security of the building and the

Fig. 37- Trajectory diagram secrecy of documents. But what can be learned from this example considering the design of the embassy in the conventional sense?

Program and materials The embassy can be reached via subway or car. The site is very close to the highway and it slowly becomes visible as visitors approach the site. The most interesting view is from the Spree River, where through the old Acacia trees one can catch a glimpse of the building. Since the building is freestanding, each façade of the building offers a

different character with various uses of materials. At some point during the day, the silhouette of interior furnishings and the movement of occupants are visible through the perforated aluminum sheets. People are clearly visible as they climb up the trajectory’s ramp into the offices or when a team of ambassadors gathers in the cantilevered meeting room. In the design of this embassy, Koolhaas has applied the concepts of appearance and disappearance to the building with use of different materials and architectural elements, illustrating his fascination in practicing architecture through use of the new techniques and methods. The translucent layers of the façade let the passerby see shadows and movements of people working inside according to their nearness to the skin. The clarity in appearance of objects and people inside is also related to the time of the day and light reflecting off the glass, so one might be able to see the interior better at night better rather than day. For the most part, Koolhaas chooses simple materials to let the interior spaces express the complexity of the project. The structure of the building is steel and concrete, yet the counters and accent walls in the lobby are made of colorful translucent resin, galvanized panels and wood. This is the area where the internal trajectory begins. It continues to the top level. Through a series of sliding glass doors, visitors are directed

Fig. 39- Material diagram into the reception area where they check in. It is here that the line between private and public spaces is accentuated with architectural elements. A reinforced glass box marks the security checkpoint zone. At

the lobby, the trajectory can be viewed as a lingering space. This path in its journey consists of compression and release areas and the counterclockwise turn and upward incline movement through this path releases the visitors into a different part of the embassy. The playful character of this phenomenon is generated as the trajectory; the main access route wraps itself around the building. At each turn, the viewer is faced with a new scene of interior and exterior. Through this technique, the building moves away from public spaces—such as the Internet space, the pressroom and the waiting rooms—to the more private areas such as the offices, deputy and fitness rooms. Chaslin says, “Everything interlocks, tightens up, freezes into the secret of a Chinese puzzle, a woodworker’s masterpiece, dovetailed assemblages, mortises and tenons.”33 It is obvious that Koolhaas chose specific views for the embassy’s occupants. This building is not only about what people can see from the outside, but is also about visibility from the inside. “See and to be seen”—a very European attitude toward sociability—is transferred by Koolhaas into the structure of the Embassy. As a user, the ambassador and other employees are constantly reminded of the neighborhood and the surroundings. The lingering areas on the trajectory become a space Fig. 39- The Dutch Embassy, View tunnel of the for users to get a glimpse of the exterior. He even uses the same strategy Residence looking at the Alexander television tower

33 Chaslin, The Dutch Embassy in Berlin, 39.

inside the building. On the first floor multi-purpose room, a set of clerestory windows allows for a view of the Internet area and light transmission through both areas. Koolhaas also refuses to use unnecessary walls in this room; rather he separates the spaces with translucent glass. The silhouettes of individuals are visible behind the glass walls and doors. He has repeated this method differently in the design, in order to make the building open as much as possible. In Psychogeography of a Cube, Chaslin clarifies the theories behind the Dutch embassy in Berlin— concepts that are taken from both Dutch and German architecture, culture and politics. He explains: On one side you have the idea of openness, of modernity, of transparency, which is supposed to characterize the Netherlands; on the other, a reunified Germany dealing as well as possible with its lugubrious past, its haunting trauma, its voids, its incompletion, in its physical scars, and in the coexistence of architecture types, styles and atmospheres which are all unbelievably foreign to each other.34

Koolhaas has tried to reach both cultures by understanding the critical concepts that embody each. For the Netherlands, not only having an embassy is important, but also representing the openness and modernity of the Dutch culture. With this in mind, Koolhaas used ideas Fig. 40- Rem Koolhaas, The Dutch Embassy, Office of transparency and translucency to represent these concepts. Rather than taking architectural elements from Dutch building methods literally, he

34 Chaslin, The Dutch Embassy in Berlin, 28.

translated the concepts taken from the contemporary society of the Netherlands into design elements. He used two different kinds of glass and perforated aluminum plates on the façade of the building, so the interior of the building is not entirely closed off. The perforated sheets of aluminum cover the façade of the first floor, facing the street. The rest of the building is a curtain wall. For the most part, dark glass blocks the sun out, and the trajectory’s path is accentuated by clear glass. Chaslin illustrates the transparency of the building as a positive aspect, introducing the Dutch culture into Germany’s urban life. He explains: “It’s transparency plays with the light and depending on the hour of the day, it allows one to glimpse the shadow of the floors, terraces and staircases, the cross-arms of the bracing, the underpinnings of the façade, Fig. 41- Rem Koolhaas, The Dutch Embassy, Trajectory’s Glass the air-conditioning tubes and ducts, and sometimes a fragment of the neighboring building, lit up a ray of sun that goes on to lose itself among the linden trees of a small courtyard.”35 The concept of Critical Regionalism closely applies to this type of building, since elements of architecture should not be removed in a literal and straightforward form from their original setting. As Kenneth Frampton says, random application of designs taken from another setting is not an appropriate way to represent a certain culture. Rather translation of regional

35 Ibid., 35.

elements, the history and identity of the guest country is needed to present it in the host country. To Koolhaas, who is an experienced architect who had worked internationally for years, this was such a delicate project. His ideology on city and understanding urban Berlin—a city as a collage—was a pivotal point in the initial design of the project. The building was soon to become a new layer on the city collage. Koolhaas was faced with some limitation based on the embassy regulations and code. The final design of the embassy building was ultimately influenced by the place, subject and the function. Chaslin reminds the readers that Koolhaas was conscious of the delicacy of the site. With the help of the local city planners, he embraced the tradition of the former East sector. So the building sits independently on the site and has all the sides open to the neighborhood. Also, he engineered the building to be elevated from the ground, sitting on a plinth. The elevated building allows the dynamic path of the Trajectory to start from the exterior and carry the concept into the building. Also according to codes in Germany the building had to be 27 meters high.36 The final project shows that Koolhaas has used all the site limitations and codes to the advantage of the building design, and in a very successful way.

36 Ibid.

The design of the Dutch embassy earned the Mies van der Rohe Award 2005. The award was dedicated to the Office for Metropolitan Architecture (OMA) / Rem Koolhaas and Ellen van Loon. The European Union Prize for Contemporary Architecture – Mies van der Rohe Award 2005 is one of the most prestigious and distinguished rewards in the architectural field. This annual ceremony is held at the Mies van der Rohe Pavilion in Barcelona. During the award giving ceremony the jury commented on “quality of the urban reflection and intelligence of the concept implemented, especially as regards the unprecedented concept of ‘trajectory’ and the new potential it brings to this project of great complexity”(“Press Release”). Zaha Hadid, as one of the jury members37, announced the success of the project due to its:

• “Extraordinary relationships established with their respective surroundings • Reunified city of Berlin in the former case” 38 Fig. 42- Rem Koolhaas, The Dutch Embassy, Night view from the Spree River

37 Jury members: Zaha Hadid (chair), Aaron Betsky, Stefano Boeri , Eduard Bru, Roberto Collovà, Mohsen Mostafavi, Suha Özkan, Francis Rambert and Kazuyo Sejima. 38 Press Release. European Union Prize for Contemporary Architecture - Mies van der Rohe Award 2005. http://www.miesbcn.com/recursos/documentos/PRESS%20RELEASE%20ENGLISH.pdf (accessed April 23, 2007).

Conclusion In this thesis, The Architecture of Poetry, the Iranian Embassy in the United States must not only reconnect the East and West cultures, also it must employ elements that present Iran as a civilized, culturally rich and contemporary country to the American people. The formal identity of Iranian architecture comes from culture as well as the chosen site. This embassy should represent two cultures, Iran and United States. If an embassy is an icon of communication and connection, the design of the building has to do the same, to communicate and connect with both cultures. In this research the author has come to a much deeper understanding of cultural influence on buildings, and more specifically cultural factors in designing an embassy. On the one hand, the factors such as security, accessibility, regional design elements and the understanding of cultural values influences one architectural project. On the other hand, the impact of the history and site context on the building is another important factor in the design. In the design of Iranian Embassy the ideology of culture understanding the context, Washington’s history is a pivotal point in the initial design of the project (Refer to Site Analysis for more information). This building would soon add a new image to the Massachusetts Avenue neighborhood. In the design of the Iranian Embassy, the site, place and history of Washington D.C. influences the organization of the building. The site is situated directly off Massachusetts Avenue, on the Embassy

Row. So the relationship between the building to the street and the visibility becomes an important factor, since most of the buildings on the Embassy Row are within the pedestrian walk and not guarded39. Making the building accessible and visible to the street is a response to the landscape and the organization of neighborhood, which invites people to enter the building.

39 The British embassy is excluded from this statement. This building is heavily guarded.

Building: Finnish Embassy Where: Washington, D.C. Architect: Mikko Heikkinen and Markku Komonen Completed: 1994

The analysis of the Finnish Embassy reveals a culture with interest in exhibiting traditional detailing in a modern setting. Also the sensitivity to the site and context has presented a specific image as Finnish ideology in United States, which is important in the overall analysis in this thesis. Scandinavian architectural techniques have become a great inspiration for architects and artists. The Finnish Embassy in Washington, D.C is an example of outstanding interior woodwork and intricate exterior details that express a craftsmanship and an eye for excellence. The detailed construction techniques and great craftsmanship are an outcome of deep cultural roots and traditional styles. In an article this embassy was described in a clever manner:

More than a diplomatic outpost, the Finnish embassy is a cultural symbol of a people and their lifestyle. It leverages the power of architecture to convey a message in a way that spoke and written words can't. But more important than what it's done for Finland is what it's done for the diplomatic world.40 Fig. 43 a & b- Heikkinen & Komonen, Finnish Embassy, scale

40 The World: North America: United States: Washington, DC: Finnish Embassy. http://www.glasssteelandstone.com/BuildingDetail/348.php (accessed April 23, 2007).

The site of the Embassy was chosen with the idea of leaving most of the wooded site undisturbed so that the existing vegetation and the park surround the new structure. This building was constructed among many other embassies on the embassy-row, on Massachusetts Avenue. The outstanding feature of this project is the compact footprint of the building. The architects didn’t want to “impose” the building on the site. The multi-story embassy accommodates three levels in addition to an underground parking space, a compact design, which were the guiding principles for the building.41 The architects Mikko Heikkinen and Markku Komonen strategically designed this embassy considering the site’s slope and movement of the sun, design elements characteristic of Scandinavian architecture. This building became Washington’s best building in Fifty years, which is Mikko Heikkinen and Markku Komonen’s first building in the United States.42 The building is simple, but it carries a certain character: “The east and west facades, clad in green granite, express the solid character of the building. The veins of the stone intertwine with the branches of the surrounding trees and their shadows, making the heavy granite resemble photosensitive paper imprinted with geological patterns and reflections from the natural Fig. 44 a & b- Heikkinen & Komonen, Finnish Embassy, scale models

41 Peter Davey, Heikkinen & komonen: Embassy of Finland, Washington D.C. 1990-1994 (Spain: Editorial Gustavo Gili, 1994), 54. 42 William Morgan, “The Architectural Review”, Diplomatic community: The New Finnish Embassy in Washington, DC , (October, 1994), 42.

surrounding.”43 The material used for the east and west facades varies from north to south, where the exterior view of the building is invited in through glass and glass block. The attention to environment is obvious through the design. In their practice influenced from movements such as Arts and Crafts, Ruusuvuori’s minimalism and Blomsted’s rationalism have led Heikkinen and Komonen to a particular style in which “materials and their methods of fabrication should speak for themselves and be appropriate for their function.” 44 Their style follows that of Alvar Aalto’s path . In the essence their style was as sensitive to the native culture as it was appropriate to the site. In the essay, Making more with less, the author notes that: “They maintain a sensitivity to site – geometry and its relative, proportion – and they have a good understanding of materials and their consequent tectonic employment.”45 They have understood the essence and principle of Finnish architecture from their previous architects and applied it in a different way. The architects have created a structure to bring in light without

Fig. 45- Heikkinen & Komonen, Finnish Embassy, Outdoor area spreading the building’s programs on the site. The structure of the building holds the stairs, ramps and bridges inspired by an image showing an intricate system of stairs (Fig. 50). Skylights were incorporated into this structure to light the central hall are called “Grand

43 William Morgan, ed. Heikkinen + Komonen/Introduction by Juhani Pallasmaa. (New York: The Monacelli Press, 2000), 117. 44 Davey, Heikkinen & komonen, 8. 45 Heikkinen-komonen: Making more with less, http://www.heikkinen-komonen.fi/studio_e.htm. Par. 7. (accessed April 23, 2007).

Canyon”.46 On the south facing windows a trellis layer covers them. During warmer seasons the direct sunlight is blocked by another layer of bronze trellis, where plants grow as they climb the surface of the trellis, blocking the heat. This technique is also helpful for colder seasons when leaves fall off and bring in more light. As it was mentioned earlier the architects’ sensitivity to the site has led to creating an interesting landscape project along side the design of the Embassy. Landscape has become a principal driving factor in the design of the project. The grid of the building has been applied to its exterior, where the intersecting lines are punctuated with light poles. These lighting elements resemble of the trees, where they blend with vegetation and trees during the day and light the landscape at night. These lights have been designed to punctuate the land at the intersecting lines. The slope is dramatic and the light poles are on one level, which makes some over forty feet high.47 The architects refer to the lights that punctuate the landscape as “a trail of Arctic stars”48 referring to the Scandinavian nature. The architects have treated the site as if it was object’s surface, when light projected on it and the surface expose its Fig. 46- Finnish Embassy, Diagram of site, grid and lights different effects at different lighting. In the essay, Making more with

46 Davey, Heikkinen & komonen, 54. 47 Morgan, The Architectural Review, 42 48 Ibid.

Less, the author explains the detail treatment behind the design of “light” and “surface”: Surface treatments of panels and screen walls, and the presence of light, both natural and artificial, in most cases cause the idealized volumes to shimmer calmly. The presence of these structures in the landscape, either as singular monoliths, or in concert with secondary programmatic elements, or as a repetitive series, has been calculated for the catalytic effect on the surrounding environment.49

Aulis Blomstedt50, one of their earlier influential mentors, portrays the importance of the site in this manner: "Don’t create an Fig. 47- Heikkinen & Komonen, Finnish Embassy, Office Space object, create a site when you are working... the site will not remain the and window details same, for your design will create a new site and a new landscape."51

The importance of site and relating to the context is the leading factor in design. From the east the floor of the building is visually stretched into the landscape of the park and from the west toward Massachusetts Avenue, which Peter Davey calls a “magic carpet of luminous points” to bring in the light and warming up the interior of the embassy. Great attention to the sunlight and room conditions are specific to traditional Scandinavian technique. Sunlight is brought in the room Fig. 48- Heikkinen & Komonen, Finnish Embassy, Bronze trellis and used in the best way possible year round to warm up the interior and glass blocks

49 Heikkinen-komonen: Making more with less, Par. 7. 50 The architect, theorist and professor at the Helsinki University of Technology during the 1950s, Making more with less, Par. 7. 51 Making more with less. Par. 7.

spaces and to create comfortable living conditions in the short days of winter. Since light is one of the great sources of energy, living and wellbeing of users, the architects incorporated it well into the design and esthetic of the embassy. “The cross-weaving of natural light corresponds to the spatial organization of the building and strengthens the simultaneous expression of lightness and gravity.”52 The Embassy holds many exhibitions around the year. Works of Finnish artists, architects and photographers have been shown in the public exhibition area. During the summer the embassy’s sauna that was constructed in Finland was showed to visitors to present the history and practices of the Finnish sauna tradition.53

Conclusion: The design of the Finnish embassy is rich and interesting. The architects have applied traditional construction details, influenced by Finnish culture in building. The design is simple, modern and straightforward, but appealing to the viewer. They have combined the traditional Finnish approach to functional architecture with contemporary concepts of presenting the culture in a foreign setting. With this approach in mind, the design of the Iranian embassy will unlock Fig. 49- Heikkinen & Komonen, Finnish Embassy, Interior model

52 William Morgan, ed. Heikkinen + Komonen, 117. 53 Ministry for Foreign Affairs of Finland, Finnish art in the US. http://presidency.finland.fi/fp/19990818.html (accessed April 23, 2007).

Shähnmeh, the Persian poetry, to reveal traditional Iranian views. The design of the Iranian embassy is created with a fusion of traditional Iranian views to architecture as well as attention to site, context and contemporary observation of cultures. The traditional Persian architecture is interested in surface design. The poetry determines the initial design and the details will come from architectural techniques.

Fig. 50- Intricate image of stairs Fig. 51b- Heikkinen & Komonen, Finnish Embassy, Top of the Staircase (opposite direction) Fig. 51a- Heikkinen & Komonen, Finnish Embassy, the Staircase

Fig. 52- Heikkinen & Komonen, Finnish Embassy, Upper level interior corridor

Fig. 53- Heikkinen & Komonen, Finnish Embassy, Ground level interior corridor

Building: United States Embassy Where: India, New Delhi Architect: Edward Stone Completed: 1950

The United States has commissioned many embassies abroad, but none has captured the essence of the both cultures, Indian and Western cultures, as well as this embassy. This precedent analysis provides an extensive knowledge on application of Western ideology in a context with deep cultural heritage. As a strong international concept each embassy signifies the art, culture and political philosophy of the United States. In this book, The Architecture of Diplomacy, Jane C Loeffler begins with the history of U.S international image and links it to the importance of the embassy’s structure. Internationally this concept has been demonstrated by a famous U.S. embassy in New Delhi, India that has impressed many people since the 1950’s.54 Loeffler believes that the significance of this building lies in two reasons: first, it has to do with American diplomacy; and secondly, Fig. 54- Edward Stone, U.S. Embassy, Façade the architect’s vision.

54 One of the first properties owned abroad by the United States government was a building in Tangier, which the Sultan of Morocco gave to the U.S. in 1821. Diplomatic relationships between the U.S. and other countries go back to President George Washington, when he assigned American ministers to travel to France, Spain, and Great Britain. Later, more ministers were sent to the much further countries in Europe and Asia. Since the Congress has authority over American diplomatic affairs, it wasn’t until 1911 that a law was passed, allowing the U.S. to own a site and permanent office buildings overseas. The official Administrative Center Building program emerged in 1926, followed by the flourishing years after World War II.

During the Cold War, India held a crucial regional position as it fought to keep away from Soviet influence and resisted becoming another communist country. To establish world peace and improve relationships within South Asia in that period the United States proved building an embassy can ease the way for democratic relationships. On the one hand, designing and constructing a new American embassy ought Fig. 55- Edward Stone, U.S. Embassy, Façade to represent U.S. democracy, but there are more concepts in the design of such a building. The basic details were location, cost and image, and for the first time in 1954 a new concept was introduced. American architect designed American embassies based on their foreign surroundings to “fit in” and reflect their context. Since the early years, the guidelines for State Department buildings have been managed by the Architectural Advisory Committee (AAC), which limits the architects in design, program, and construction of embassies. This agency has to review the design, materials, and construction methods to suit the codes. One example of a famous U.S. embassy that become an icon of embassy design. The first step was taken by President Truman when he selected Chester Bowles as American ambassador to India with a staff of 150. The architect who designed New Delhi’s embassy was Edward Durell Stone, which later was recognized as a significant American landmark. The design of New Delhi’s Embassy fulfilled the AAC’s code Fig. 56- Edward Stone, U.S. Embassy, Interior space requirements for an embassy, which later was distinguished as a

significant American landmark by critique. In 1953, the U.S bought a new site in New Delhi, the capital, but it wasn’t until 1959 that the completed project was dedicated to India. When Stone presented the first complete design of the building in 1954, the AAC advised him to study the project longer. So it wasn’t until 1955 what the committee reviewed the completed design for the embassy with the presence of I. W. Carpenter, Assistant Secretary of State for Administration, Colonel McBride and American diplomats Walker and Bowles. Fig. 57- Diagram of geometry and symmetry Stone talks exclusively about the design of the embassy and the Indian setting, which contributed to the image and design of the building:

First I decided to place the structure on a platform for podium under which automobiles could be sheltered from the 120 degree sun of India. Also—let’s be frank—I wanted to keep them out of sight. The idea of a monumental building rising from a sea of multi-colored, tail-finned automobiles is simply revolting. I elected to place offices on two stories around a water garden to gain the cooling effect of the fountains and pool. To shade windows and other glass areas from the sun and reduce glare, I Fig. 58- Diagram of geometry and façade adopted a terrazzo grille for exterior walls—an ancient principle in tropical climate. The entire building is shaded by a rectangular canopy separated from the second floor ceiling by several feet— a heat-dissipating breezeway. For proper shade I carried the canopy wall beyond the wall of the building—beyond the reach of a cantilever—so columns were required for support. These steel columns were finished with gold leaf and introduced a note Fig. 59- Façade texture of oriental opulence. The result of solving all these consideration

of climate and function produced a building type—a temple— almost as old as history.55

Stone repeatedly talks about his inspiration in this project, his wife Maria Stone. He calls the United States Embassy in India “The Taj Maria”.56 The presence of traditional elements such as water, texture and forms were derived directly from Indian culture. These elements have cultural significance in Indian settings as well as functional use. Stone’s deep observations within the Indian culture reveal more meaningful elements. He continues explaining his inspiration for the “circular lagoons” built before the Embassy’s façade, next to the main entrance. “As with the Fountain of Trevi where tourists toss coins, it has become traditional to take distinguished visitors across the stepping stones and islands in the water gardens—a source of joy to everyone. The architects Fig. 60- Edward Stone, U.S. Embassy, Facade for the Mogul Emperors were the first to perceive the feelings of serenity

given their temples by the reflection of the temple images in calm lagoons. I placed a large circular lagoon in front of the Embassy to give the building the same sense of tranquility.”57 He was inspired by the intricate texture of Indian fabrics and created a similar weave to be applied to the exterior façade.58 The delicate texture of the façade is

55 Edward Durrel Stone, The Evolution of an Architect. (New York: Horizon Press, 1962), 138. 56 Ibid,.3. 57 Ibid., 139. 58 This weave is Edward Stone’s signature pattern that was repeated in most of his later projects.

reminiscent of translucent fabric, where objects can be seen through its weave; it lets the breeze flow in. On the other hand it blocks the heat of the sun out. The columns that hold the cantilever become part of this weave, where it creates visual depth on the façade based on time of day and season. The procession to the building is reminiscent of temples, built on raised ground to open the view into the surrounding context. A broad stairway directs the access into the building, which is on the axis of the building. In this project Stone deliberately and masterfully has combined the elements of Indian culture with the western ideological concepts of the time. He writes: “The Embassy, literally built by hand, is the result of a combination of Eastern and Western skills. The concrete-and-marble-aggregate grille was fabricated on the site in one- foot square molds, then finished and polished by hand; most of the other building components were similarly fabricated. We used India’s beautiful marbles and the podium paving around the building is of small stones washed smooth by the sacred Ganges.”59 The completion of this project made news in India as well as America. One of the memorable occasions was when Indian Prime Minister Nehru saw the building and reported that: “it is a very beautiful structure and a very attractive combination of typically Indian motifs

59 Ibid., 139.

with the latest modern technology.”60 Frank Lloyd Wright called this Embassy “one of the finest buildings in the last hundred years and the only Embassy to do credit to the United States.”61 Stone explained that the design of his building was inspired by the Taj Mahal. The occupants and critics thought of this building as an inventive design masterpiece, a graceful office building that represents America’s democratic presence. Even today it is known as one of the finest buildings of the century. The United States Embassy in New Delhi is a unique project, which was formed through two countries’ diplomatic relationship and one man’s determination to link them together. This embassy is considered a benefit both to the American mission and India declaring democracy.

Conclusion The design of embassies such as the U.S. Embassy in India reveals the architect’s understanding of diplomacy as well as cultural differences. The most appealing aspect of this embassy is the façade, which conveys the first impression to the visitors. This façade has two advantages for the building: first it becomes the image for this embassy, revealing the cultural understanding of Stone; also it has a functional use for the interior of the embassy. It cools down the interior spaces through

60 Jane C. Loeffler, The Architecture of Diplomacy: Building America’s Embassies. (New York: Princeton Architectural Press, 1998). 61 Stone, The Evolution of an Architect, 139.

cross ventilation. In the design of the Iranian Embassy the façade of the building is translated from studies of Persian poetry, Shähnmeh, and traditional views of façade design in Iranian architecture. Since the façade of the Iranian embassy will face Massachusetts Avenue, approach and view to the entrance is critical. The first glance of the building determines the first impression. The façade in the Iranian embassy derives from the structure of lines (4 hemistiches complete one idea), a concepts translated from Persian poetry. The combination of materials derived from formation of meaning in 2 lines or 4 hemistiches.

Building: Iranian Embassy Where: China, Beijing Architect: Hussein Amanat Completed: 1983

The study of Iranian precedent reveals common details of the traditional architectural elements as well as contemporary details. The Iranian embassy in China is an example for an elegant design among the few Iranian embassies that comes from both traditional and contemporary views toward Persian architecture. In 1983, five years after the Islamic revolution in Iran, Hussein Amanat designed the Iranian Embassy for China. The Embassy in Beijing, China is one of a few great examples of Persian architecture after the new regime. This Embassy is among a few commissioned buildings for the Iranian government abroad. At the time, it was considered one of the best representations of Persian architecture for its design, material use and traditional elements. The Persian architect, Hussein Amanat, used “buff-colored” brick and white concrete to accentuate the traditional and modern material use and construction methods. Amanat’s designs included programs such as the chancery, ambassador's residence and reception building, a small Persian language school, service building, and swimming facilities for this complex. This embassy not only celebrates the traditional Persian architecture, but it also commemorates Iran as an old civilization. The Fig. 61- Hussein Amanat, Main view to the Embassy of Iran, China

architectural elements such as exterior and interior yards (hayat-i-birouni and hayat-i-andarouni) were placed on an axis to represent the Northern and Southern sections of Iran and to commemorate various traditions in Iranian architecture. For visitors hayat-i-birouni is used as a place of public circulation and the Ambassador's private residence is in the hayat- i-andarouni along with the pool and the chancery. Amanat clarifies the design of the building by referencing main concepts: The axis of the largest courtyard, (hayat-i-birouni), is deliberately altered to a diagonal in order to distinguish itself from convention, permitting an elongated succession of fountains and pools recalling Persian gardens, while providing an impressive vista point from a major throughfare outside the main gate. This 45-degree axis points to Fig. 62- Hussein Amanat, Iranian Embassy, Garden view the spacious portal (eyvan) of the reception pavilion, which draws one into the domed core similar, the Isfahan Hasht Behesht. Here, the skills of Persian masons using structural ribs to adorn the vaults and integrate curfed surfaces into straight walls are interpreted into patterns of concrete ribs supporting the eyvan and central dome.62

The embassy has become an icon of the center as well. Amanat has used various architectural elements that are typical of Iranian buildings, domestic and public, with attention to Iran as a chest full of art sources. In his design he refers to elements, colors and designs of Persian art that inspired his imagination and his career. The elements of Islamic Fig. 63- Hussein Amanat, Iranian Embassy, Garden view at night architecture are clearly evident in this design, but they are softened or

62 Hussein Amanat, Amanat Architects. Projects: Iranian Embassy, China, Beijing. http://www.amanatarchitect.com/embassy.html (accessed April 23, 2007).

combined with Persian motifs. The architect used broad arches (rather than pointed arches), symmetrical and geometrical forms to accentuate the references to Persian culture. Amanat, in reference to Persian architecture, explains the essence of this building: “With poetic rhythm - from the spacious eyvan to the low vestibule, to the high skylight dome of the central hall, to the large banquet rooms, and reception halls - the architect endeavored to evoke the geometry, the order, and ultimately the spirit of Perso-Islamic architecture.”63 The spirit of Persian architecture is in details and elements that have been developed in Iran and are still used today. There are a few architectural elements, which are drawn out of the Fig. 64- Hussein Amanat, Iranian Embassy, Side facade design of this embassy such as garden, gateways, and rooms. These will be analyzed individually according to their importance and repetition. These elements are the most important in Persian civic and public building.

Persian architecture and Traditional forms

In his book The Sense of Unity, Nader Ardalan reflects on the power of unifying elements in Persian architecture, which in combination have created totally balanced architectural works. The study of traditional forms of past buildings provides precedents for present and Fig. 65- Hussein Amanat, Iranian Embassy, Detail of exterior

63 Ibid., Par. 4.

future designs. Ardalan explains: “The study of generic forms can serve multiple purposes. From it a glossary of architectural forms evolves that serve as guides to the understanding of past works. The historic ‘residue’ that certain forms manifest reflects their origins and indicates their appropriate usage; at the same time, it fortifies their inherent symbolism.”64 This statement clearly indicates that the form of the building is interconnected with its function. The following elements reflect some of the most prominent details in Persian architecture.

Garden (Bagh):

“The architectural conception of garden reflects the ‘sense of place’ (makan), the garden being viewed as a defined space encompressing within itself a total reflection of the cosmos.”65

In the Iranian Embassy, Amanat has organized the garden in relationship to the body of the embassy along the main axis. There are four separate gardens that divide the main building from the school and the diplomats’ housing complex. The largest garden is covered by grass Fig. 66- Hussein Amanat, Iranian Embassy, Interior detail in the direction of the main axis, which forms a path toward the building,

64 Nader Ardalan and Laleh Bakhtiar. The Sense of Unity: The Sufi Tradition in Persian Architecture. (Chicago: The University of Chicago, 1973), 67. 65 Ibid., 68.

while a body of water runs in between the path. This waterway starts from a small pool and runs away from the embassy. The boundary of this section was clearly marked with trees that separate it from others visually. All of the gardens are organized around pools of water.

Gateways: “A gateway of a city and a chapter of a book are both known as ‘Bab’, being either the beginning or the end of a journey.”66

The main entrance to the embassy is located at the east side of the building, where visitors approach a symmetrical façade of the building. Two wings flank the entrance, or gateway. Each wing is three stories high and directs views to the central segment where the entrance lies. Spaces inside and outside of the entrance are as important as the passage itself. The exterior facade portrays grandness and symmetry. On the other hand, the accentuation of levels and use of material breaks down the grandness of the entrance. Upon the entrance the visitors are led to the lobby and waiting rooms. The organization of the lobby’s interior accentuates the symmetry of the gateway, while at the same time it divides it into two spaces, north and south. The connection between Fig. 67- Hussein Amanat, Iranian Embassy, Plan of the embassy exterior and interior of the entrance is accentuated through climbing a set

66 Ibid., 71.

of stairs. The transition of spaces is as important as the activity of entering the building itself. So the embassy’s doorway becomes a symbolic icon as well: it marks the main gate to the building where most of the visitors are directed and it becomes a transitional point of the building where movement is directed from one area to another. The act of exiting and entering the building starts or ends the journey into or outside of the building.

Domed Room (Chahar Taq): “In shape, it is a dome resting on a square of four arches. In plan, it is a mandala.”67

Since an embassy has a need for more security, the organization of interior areas is as significant as designated functions within each room. The offices are separated from other public areas and are located on the second and third levels. The organization of each floor has a lot to do with the program of the embassy. The lobby leads the visitors to the circular waiting rooms. These rooms are on the main axis of the building, Fig. 68- Hussein Amanat, Iranian Embassy, Arched door where they are directed to the main central hall on the same axis. From this room the flowing water of the pool and landscaping of the garden are visible. The central hall is located at the center of the building and

67 Ibid., 75.

secondary rooms flank it. Also based on Persian architecture, Amanat deliberately connected the main building visually and geometrically to the surrounding natural environment and the rest of the complex. Persian architecture has interwoven itself with culture throughout the long civilization of Iran. By understanding concepts such of forms, details and elements in Persian architecture one can follow the trace back to the initial ideas. Amanat has professionally captured some of these characters and architectural elements in his design.

Conclusion: The Iranian Embassy in China is representative of the traditional Persian architecture in a contemporary setting. Amanat has adopted the traditional elements such as arcade windows and simplified them to their essential forms. Stretched arches and large rectangular forms are visible throughout the building. The windows and doors were placed on the main axis. Viewed one way, this composition is the icon of a straightforward and modern structure that follows traditional Persian architecture. From another angel, the architect has created a building that addresses the place and surroundings. The windows and doors face four directions, when the axis of each direction stretches into the site. In the design of the new Iranian Embassy the traditional axial design was derived from poetry. This axis created the initial structure of the building

Fig. 69- Diagram façade, symmetry and geometry as well as determining the access to the building and movement within.

The basic structure in the design of the window and doors will follow similar rules to allow the connection between inside and outside.

Fig. 70- Diagram façade, symmetry and geometry

Building: Ali Qapu Where: Iran, Isfahan Architect: unknown Completed: 1688 A.D

To understand the contemporary architecture, one needs to study the traditional architecture as well. The traditional Persian architecture provides a clear image of historical elements. The composition between parts and organization of spaces are clearly designed and built that are still impressive and used today. One of the most famous and award-winning projects is the Ali Qapu, the gate to the Qaisariyya Bazaar in the historic city of Isfahan. It is part of the historic complex that has survived five centuries of city development. Built perpendicular to the Zayandeh River, the great complex was built as part of a Persian palace. Ali Qapu alone consists of a square, three-story core and series of additions. The most memorable section of this gate is the Talar. The Talar functions as a reception pavilion and reviewing stand, where it leads to the main section of the palace. The interior and exterior details express harmony, form and rhythm that are derived from mathematics, music and architecture. The slender wooden columns of the main façade, which have existed since the construction of the building (1688 A.D), display craftsmanship and advanced theory of structural timber in design of columns, beams, trusses Fig. 71- Ali Qapu, Site plan, Esfahan and connection elements. Also the interior of the Talar has perfect

acoustical balance, which can retain and reproduce the sound of the music. The roof and adjacent walls are built in hollow sections that create the acoustical echoes.68

Fig. 73 a & b- Ali Qapu, Diagram geometry in Fig. 72- Ali Qapu, Site plan

68 M. M. Hejazi, Historical Buildings of Iran: Their Architecture and Structure, (London: Computational Mechanics Publications, 1997), 35.

Traditional architecture in Iran, such as Ali Qapu, represents the cultural beliefs as well as impressive methods of building. The formality of approach to building and functions of each informal space are well thought out and represent a unified structure as a whole. Ali Qapu, gardens and the flanking palace demonstrate the traditional Persian architecture that displays formal images of Persian structure, which are the repeating elements in historical precedents. The essay Changing Roles and Procedures in the design of Public Building by Mona Serageldin and Francois Vigier discusses the elements that create a public building and the architects’ responsibility to shape a successful urban environment. Any building within an urban environment has four major characteristics: “it stands as a landmark, it transmits a message, it performs a function, and it fulfills a need.”69 The universal concept of designing buildings is that an architect shapes the form and the program of a building, and the user determines its success or failure. Studying the design of Ali Qapu reveals many details about the traditional architecture. The composition of structure and formal setting of Ali Qapu is balanced to create an active space within the building as Fig. 74- Ali Qapu, Intricate detail of ceiling well as its connecting structures: “While the entries to the three other

69 Renata Holod and Darl Rastorfer, Eds. Aga Khan Award for Architecture, Architecture and Community: Building in The Islamic World Today. (New York: 1983), 46.

major buildings of the square are recessed into the surrounding walls and are therefore passive to it, the Ali Qapu steps actively into the space.”70 This section was not only designed to be the main portal to the square, it was also designed to filter the flow of the crowd into the complex. Visually the structure is balanced by creating two different functions out of the façade. The first floor is designated for entering the complex. The second level is a colonnaded porch to allow a view of the square and surrounding site. In this complex the elements of “entrance and passageway” are the prominent and dominant concept that allow fluid function. Ardalan and Bakhtiar talk about the importance of doorway.

Peculiar sanctity was given to this main doorway, attesting to the symbolic nature of thresholds, which traditionally signify hierarchical passage. The paradise park that lay beyond was arranged in quadrangular sections, exhibiting both aspects of the Persian garden concept. The main residential, administrative, and service spaces were grouped around courtyards, and the ceremonial pavilions were set amidst the verdant plentitude of the royal gardens. A system of harmonic order created a balanced design where the rhythmic spontaneity of nature complemented an overall geometric framework.71

Fig. 75- Ali Qapu, Façade and Bazaar

70 Nader Ardalan and Laleh Bakhtiar, The Sense of Unity, The Sufi Tradition in Persian Architecture. (Chicago: The University of Chicago, 1973). 126. 71 Ardalan and Bakhtiar, The Sense of Unity, 126.

The basic structure is symmetrical, with an opening on vertical axis and windows flanked at the sides on the first level, and columns on the second level. The visual balance between the first and second level completes the basic square shape. The essential configuration of the façade and plan of this building is tightly related to mathematics. The ratio of the squares and circles that fits within the façade creates a balanced composition. The smaller circles fit within the larger ones, and the relationship of small circles to the whole arrangement determines the placement of windows and doors. This arrangement repeats in the plan and overall complex of Ali Qapu. The upper level and lower level of Ali Qapu follow the same composition, which is best to study in section view. The section of the building reveals the same complex mathematical rules; the structure fits within a square which determines building’s axis, windows and doors (Fig. 82). This axis divides the building into exterior Talar and terrace facing the Square, and interior Talar and enclosed terrace facing the garden. The right half is heavier in detail than the left half, but the fluidity of spaces connects them to create this amazing complex. Ali Qapu was built to invite the crowd and introduce them to Fig. 76- Ali Qapu, Facade the refreshing architecture of the complex.

Conclusion: Ali Qapu complex is an example of a structure with symmetrical composition, where the functional use has determined the design. This design of this gate is the fusion of Islamic architecture and traditional building techniques. The elaborate design of the gate allows the flanking structure of the Bazaar to come together. It also allows a dynamic interaction inside and outside its boundaries. The access of users was filtered into the structure. In the design of the embassy the entrance has to act not only as the main access point, it also has to become a security point. So the circulation and design of the main entrance has to function properly. The access to the building and axis of the movement within is derived from movement in reading poetry. The design of the entrance was inspired from Ali Qapu. The entrance protrudes out to accentuate the gate into the building and acts as a security gate within.

Fig. 77- Ali Qapu, Interior detail

Fig. 78- Ali Qapu, Façade, diagram of dimensions and geometry

Site Analysis Proceed, great chief, with virtue on thy side, Thy ev’ry action let the goddess guide. A crown, a mansion, and a throne that shine, With gold unfolding, WASHINGTON! be thine.72

72 A poem written to George Washington in 1775 by African American poet, Phillis Wheatley. It refer to a nation created based on “virtue and justice”.

Grid and Democracy Brief history of Washington, D.C. The organization of the Federal City (Washington, D.C. and the Capital building) goes back to the traditional idea of city planning according to astronomy, metaphorical and symbolic elements. The current grid of the State was derived from the simple shapes of circle and triangle. The intersection between the shapes became the points where the landmarks, major squares and grids were placed. Nicholas R. Mann in his book, The Sacred Geometry of Washington, D.C., writes “the original design of the City of Washington, as an expression of emerging American value, was conceived in close accordance with the ancient system which insists proportion, measure and number with symbolic significance.”73 Even before the French architect and engineer Pierre- Charles L’enfant was hired to design the layout of the federal city, the site chosen as the capital city had to be representative of the new republic. A location for the State Capital had to represent the spirit and creation of the “New World”. The debate over the adequate site took years around suggested locations, but none were as important as the land that stretched alongside the Potomac River. George Washington

Fig. 79- Washington, D.C. grid emphasized the use of a site along the River, since he had a keen bond to

73 Nicholas R. Mann, The Sacred Geometry of Washington, D.C.: The Integrity and Power of the Original Design. (England: Green Magic, 2006), VI.

the River and the area around its banks. His father, a landowner, saw it as a great opportunity for development into a greater city. Also the Potomac River was strategically and geographically important, since it was a connecting point between Northern and Southern states. But the most important idea for Washington to emphasize on this specific location was the meaning of the word “Potomac” or “Patawomeck”, which translated into “meeting place” or “trading place”. The natives called it so, because the area between the Potomac River and Eastern Branch was used as a place for tribal meetings, interaction and trade.74 So, the site was not only strategically important for the country, but it also had symbolic and historic value, which Washington himself recognized. Over a decade the banks alongside the Potomac River slowly became developed. With a great vision for the Capital City, architect Pierre-Charles L’enfant was assigned to the project. The Capital building was the center of overall planning for the Capital City, foremost being at the center of the first circle that started the organization for rest of the city. Mann agrees with Professor Mircea Eliade when she says, “all traditional architecture attempted to repeat the pre-eminent cosmogonic act, the Creation of the world.”75 The design for the mater of the Capital Fig. 80- Diagram of grid of the complex city was inspired directly from the ancient sciences of geometry and

74 Ibid., 28. 75 Ibid., 1.

cosmology, and his prominent precedent was the master plan of Versailles. In a way the design of the Federal city was creating a city that represented the capital of democratic government. Application of the classical architecture became a symbolic move that indirectly represented enlightenment, order, organization and precision of the United States democratic government. L’enfant worked from the concept of city as the center of the world enacted to resonate the ancient order: “L’enfant conceived of the capital as a primary point of origin in the center of it. He established an east-west axis across Washington with the Mall and East Capital Street, and a north-south axis, that was a function additionally as a new, global, zero-degree meridian, running through North Capital and South Capital Streets. As is well known in free- masonry, this creation of the symbolic definition of the world center and the six directions is the first step in all traditional sacred geometry.”76 The avenues connected the ceremonial circles to each other. These avenues consisted of the orthogonal and the diagonal avenue line that went through the Center, Capital Building and organized the main grid. The process of creating the master plan was complicated and followed strict geometric rules. Mann explains: “once the widths of Fig. 81- Diagram of grid of the complex buildings are taken into account, the avenues of Washington always

76 Ibid., 2.

conform to the pattern that is generated by the underlying Golden Section circles, axes and centers.”77 In a way L’enfant applied the orderly nature of democracy to the chaotic nature of landscape.

Massachusetts Avenue: This avenue runs diagonally, from northwest to southeast and it is the longest avenue in the Capital City. This area is one of the most vibrant areas of Washington, D.C. The development on this area started Post-Civil War about 1870, where it became home to wealthy and influential families. Today, this area is lively and populated with parks, historic homes, official buildings, embassies and the Naval Observatory—the Vice President’s house. This avenue is also called the embassy row, since there are dozens of official embassies located along the stretch. The area includes ancient oak forest-covered hills, which is part of Rock Creek Park. Among them are the Finnish, Brazilian and British embassies. This avenue runs parallel to Pennsylvania Avenue and intersects Connecticut and New Hampshire at the Dupont Circle. Dupont Circle is the center of this area, with traffic flow around it. Also a few other important monuments in this area are as follows: Fig. 82- Massachusetts Avenue and Naval Observatory

77 Ibid.,14.

• Heurich House museum • American University • Walsh-McLean House • Anderson House- house of a former diplomat • Bison Bridge-four bronze statues of the shaggy horned beasts • Dumbarton Oaks Park • Montrose Park • National Cathedral • Cameroon Embassy • Finnish Embassy • Brazilian Embassy • British Embassy • Woodrow Wilson House • Textile Museum • Tudor Mansion • National Museum of American Jewish Military History • Philip Collection • Scott Circle • Mary McLeod Bethune Council House • Metropolitan African Methodist Episcopal Church • National Geographic Society • Charles E Summer School Museum and Archives • National Jewish Museum Fig. 83- Surrounding neighborhood • St. Mathew’s Cathedral78

Proposed site

78Melissa Klurman, ed. Fodor’s Washington, D.C. (New York: Random House, Inc. 2001),87-89.

On Massachusetts Avenue, between the Finnish Embassy and the Dupont Circle area is a fine site for the design of an Iranian Embassy. The main reason is that on Massachusetts Avenue below 30th Street, the vacant Iranian Embassy exists to this day, reminiscent of former years of glory. The site is located among a few other embassies, facing the Brazilian Embassy. The architectural style of each embassy is different and varied in design; some are contemporary and some others are occupants of town houses or neoclassical buildings. The building is neoclassical in structure and conveys Persian architecture with floral ceramic tiles and a blue dome. The building faces the street and is Fig. 84- Detail of the existing façade designed on the incline of the hill. The existing embassy is considered a Fig. 85- Light and street signs historic building and has been left vacant, protected property of United the States for the past twenty-five years. This site is appropriate for the design of the new embassy and will challenge the new concept of poetry and architecture. The slight decline, forested surroundings and the delicate character of the site will become part of the design development as the new embassy takes shape. The new embassy will address the site, the neighborhood and the existing Iranian Embassy.

Fig. 86- Arial view of the existing embassy

Fig. 87- 360 degree view of the proposed site, Massachusetts Avenue

Fig. 88- Finnish Embassy Fig. 89- Brazilian Embassy Fig. 90- National Cathedral Fig. 91- Existing Iranian Embassy

Proposition

As a result of this research and study of the similar preceding embassies, the Iranian Embassy will not only function as primarily place for the Iranian consulate and affairs—it also functions as a cultural center. This design of this embassy is intended to reintroduce the Iranian culture into the United States. Iranians and other visitors will attain their documents in an official place dedicated to Iranian matters, and the new embassy will set a new image for Iranian culture and architecture as well. This facility will enclose offices, a culture center, classrooms, a garden and parking spaces within the site. This building’s primary architectural plan and additional programmatic details will be designed around these basic requirements. The importance of this embassy goes back to the primary function of the building, which is considered a welcoming place for all visitors. The embassy will represent an understanding of the traditional architecture of Persian culture in the twenty first century. One of the most important aspects that will shape the design is the understanding of Persian poetry and translation of it into architectural elements. Based on the research from other precedents in designing an embassy—for instance the Dutch Embassy in Berlin—this building would be representing many vital factors surrounding it. Rem Koolhaas has represented two cultures within a project to create such an important image. The location of this site should be the initial design factor as well. One cannot ignore the fact that this embassy will be built in one of the

most important locations in the U.S. There are numerous landmarks and museums surrounding the site. It would be interesting to develop the idea of culture within another culture, and the positive and negative aspects of this concept. As previously stated, the embassy will represent the Persian architectural traditions as well as the culture of the host country. The re- invention of dialogue to reconnect the relationship between cultures is the main goal of this building. The presence of the new Iranian Embassy means more than architecture, but endeavors to spare a political relationship between two counties. As Kenneth Frampton clearly explains, the critical regionalism is more than regional climate and environment; but it also embraces local material, craftsmanship, and traditions (Refer to Appendix B for more information). The goal of this thesis is to develop architecture which is indicative of both Persian and American culture through the translation of Persian poetry into a modern building on the American site. The program of an embassy was chosen as one way to bridge the relationship between these two nations through the possibilities of cultural exchange, using this architecture. Through understanding Persian poetry, author has explored the deeper traditions and techniques that come from Persian culture and history. The research has contained references to the various architectural precedents such Ali Qapu— built in Isfahan and exhibits traditional Iranian architectural details and techniques— as well as

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examples of embassies in China, the Middle East, Europe and the United States. As a concept the new embassy built in the United States will signify the art, culture and political philosophy of the Persians. In this project the Persian architecture will not be a traditional architecture, where it was developed in years of practice and cultural needs. This Embassy, not only will represent a translation of Persian poetry into architectural language, it also will be representing the context that it will build on. Designing a new embassy for Iran in the U.S. has to represent Persian culture, architectural elements and details. What separate the true Persian architecture from other Islamic prototypes are the deep-rooted methods and cultural differences that grow from its historical past. From this view the new embassy becomes a modern icon of Iranian architecture. The future embassy has to illustrate the sensitive elements of past and present, the use of newer materials and techniques that represent this building not as a historic object from the past, but rather a building that illustrates past elements in modern architecture. The design of the official Iran Embassy will have the following programs:

• Fixed Programs- covers all the required public and private spaces and rooms that each embassy needs to function • Variable programs- The culture center and class rooms that will represent the semi-public areas

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The suggested interior and exterior programs for Iranian Embassy leads to the design documentation and final format of the building.

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Program Space requirements for embassy79

79 The list of programs for this embassy is combination of research based on other similar embassies and cultural center during precedent analysis and other embassies not noted in this thesis.

The public areas to:

Reception area This area includes: main circulation area on first floor and lifts Total 5565 sq. ft.

Cultural center This area includes galleries for art exhibition, public circulation and multi-purpose rooms for lectures and gatherings Total 2850 sq. ft.

Public Toilets On each floors male and female bathrooms are needed Total 210 sq. ft. each

Store and gift shop Included in lounge area Total 50 sq. ft.

Lounge and Chai Khaneh (Persian Café) Total 1400 sq. ft.

Library Public and private access (for internal circulation only), Total 2900 sq. ft.

Study area and internet desks Total 2240 sq. ft.

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Employee access to:

Offices This area includes: Conference rooms Total 540 sq. ft.

Personal Offices for ambassadors Total 600 sq. ft.

Administrative, process and immigration offices Total 3200 sq. ft.

Reception for office area This area includes: cloakroom, waiting room and foyer Total 450 sq. ft.

Mail center (include in office area) Total 50 sq. ft.

Kitchenette This area includes dinning area and appliances needed for a kitchenette Total 900 sq. ft

Toilets On each floors male and female bathrooms are needed Total 210 sq. ft. each

Parking For employee use only Total 17200 sq. ft

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Service This area includes mechanical, HVAC, service entry and exit Total 920 sq. ft.

Special programs:

School for Farsi speaking students This area includes 2 classrooms, Total 1075 sq. ft.

Exhibition area Total 100 sq. ft.

An office Total 300 sq. ft.

A meeting room Total 945 sq. ft.

Garden Exterior culture center, Open-air Theater, Fruit garden, Walking path, Lounge, outside café, Terrace, Sculpture Garden Total 11250 sq. ft.

Security Complex guard at Lobby area on the first and second floor, parking and garden Total 565 sq. ft.

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Total Sq. ft. of Embassy Offices, culture center, classrooms, circulation areas, gardens and parking Total 40000 sq. ft.

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The Iranian Embassy in Washington, D.C. Design Documentation

Memory of Façade… Path Punctuation of Poetry… Wall Abstraction of Culture… Space

Fig. 92- Site plan

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The new Iranian Embassy will be built on the site where the previous embassy stood. It will represent a different aspect of Iranian culture and diplomacy through this design, a refreshed image for a new era. As it was said before, designing an embassy for Iran in the United States is a way to reinvent the concept of an embassy by reconnecting the relationships, and reintroducing the two cultures to each other. The lessons learned from the Shähnmeh’s poetry, precedent analysis and poetical elements in architecture have led to a vision for a new embassy. Each precedent carried a certain amount of detail to reinforce and shape the design and function. The material use within the building, techniques to fabricate the facade and landscape elements are the examples of attention paid in every project studies for this thesis. The effect of poetry in this study has crafted the initial design, structure and the application of each detail within and around this building. The initial study of the site and poetry highlighted important factors, which the embassy design shaped around them. Flanking the designated site two other older embassy buildings exist. These buildings are town houses converted to embassies. Each building is three stories high, with neo-classical structure. So the height became one of the factors that determined design. The other factor was the hilly site and the Fig. 93- Site plan landscape. Surrounding the building, the forested area of Rock Creek Fig. 94- Site model Park accentuates acres of land. Massachusetts Avenue slopes toward south and east. So the site is sloped in the same direction, overlooking

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the Park. Also the initial study and research of Shähnmeh revealed the third factor of design. The language of Shähnmeh is sensual and metaphorical as it is intense and mind capturing. One reads Shähnmeh to come to an understanding of the multi-layered significance buried under his language. The flow of the poetry leads one to many paths, as Ferdosi has captured his wisdom within the story line. These three factors combined with excavated characters— mythical, historical and epic forms of storytelling—shaped the initial design. Three ramps stretch from west to east, opening the view toward the landscape. The movement is gradual as each ramp leads to different paths. One becomes the ramp to the parking area, another separates itself from the ground, leading to the second level. The third ramp combined with steps leads one to the other side. Each ramp accommodates programs that shape the final form. The analysis studies concluded three major findings, which shaped the later design of the embassy.

Fig. 95- Place • Memory of Façade

Fig. 96- Space • Punctuation of Poetry • Abstraction of Culture Fig. 97- Ramps

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Memory of Façade The existing building will be replaced with the new embassy, but some of the materials (specifically the mosaic tiles on the surface of the façade will be used within a pavement path to the embassy entrance to commemorate the older building and remind the visitors about the past history of the site, since the mosaic tile is a prominent character of the façade in the existing building. The path to the building is the start of a journey into the building and a chance to commemorate the past building.

Punctuation of Poetry Studying Shähnmeh introduced the following details about the structure and philosophy of poetry. Structure • Symmetry • Formal construction • Sections and chapters • Line and hemistich • Order and words • Forms and Rhyme • Rhythm • Punctuation (short, semi-short and long punctuation) • 4 rhythmic hemistiches, complete meaning in four Fig. 98- Concept model for hemistiches or two lines Movement and ramp

Fig. 99 – Site and concept

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Philosophy

• Metaphors • Subjective meaning • Objective form • Sensual and colorful • Mythical, historical and epic80 • Focus on wisdom, truth and ethics • Preserving Persian language and traditional poetry

Most but not all of these details have been translated into architectural elements. The symmetrical aspect of poetry created the linear structure of the building, whereas reference to the philosophical aspects of poetry such as the three sections of Shähnmeh—mythical, historical and epic aspects—created three different ramps/movements of the initial concept. Punctuation in Shähnmeh is sensual and dramatic, which is the outcome of metaphors and construction of lines. Between each hemistich and the following line there are gradual movements combined with subtle punctuation, revealing the hidden meaning. The beat is complete in four beats or four hemistiches. This character was Fig. 100- Concept model for Movement and ramp. Three different sections of Shähnmeh and ramps translated into many architectural aspects: placement of the walls, openings in the façade and elements of surface design.

80 Refer to Appendix C for more information on Shähnmeh

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Abstraction of Culture In author’s view translating the true Iranian character required abstracting to present Iranian culture without transferring nostalgic views. For example, Persian carpet is used in a majority of Iranian built houses and offices. In this case the author has attempted not to use literal elements of interior furnishing, but rather excavate them from Shähnmeh’s poetry to imply other characteristics of Iranian culture. Simplifying the details to their essences is the outcome of abstraction of culture. These details were applied to the exterior façade, design of the stairs and design of the garden.

Fig. 101- Diagram

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Fig. 102- Plans

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Fig. 103- Elevations

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Fig. 104- Model, view from Massachusetts Avenue.

Fig. 105- Sections Fig. 106- Model, view from back looking toward the Embassy

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Fig. 107- Model, Arial view of the site Fig. 108- Model, view from front of the Embassy

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Fig. 109- Model, structure of façade Fig. 110- Model, organization of the form

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Appendix

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Appendix A International Embassies in the United States

• Afghanistan • Bulgaria • Czech Republic • Gabon • Ivory Coast (see • Albania • Burkina Faso • The Gambia Cote d'Ivoire) • Algeria • Burma (see - D - • Georgia • Andorra Myanmar) • Germany - J - • Angola • Burundi • Denmark • Ghana • Antigua and • Djibouti • Greece • Jamaica Barbuda - C - • Dominica • Grenada • Japan • Argentina • Cambodia • Dominican • Guatemala • Jordan • Armenia • Cameroon Republic • Guinea • Australia • Canada • Guinea-Bissau - K - • Austria • Cape Verde - E - • Guyana • Azerbaijan • Central African • Kazakhstan Republic • East Timor - H - • Kenya - B - • Chad • Ecuador • Kyrgyzstan • Bahamas • Chile • Egypt • Haiti • Korea • Bahrain • China • El Salvador • The Holy See • Kuwait • Bangladesh • Colombia • Equatorial • Honduras - L - • Barbados • Comoros Guinea • Hungary • Belarus • Republic of the • Eritrea • Laos • Belgium Congo • Estonia - I - • Latvia • Belize • Democratic • Ethiopia • Lebanon • Benin Republic of • Iceland • Lesotho • Bhutan Congo - F - • India • Liberia • Bolivia (former Zaire) • Indonesia • Liechtenstein • Bosnia • Costa Rica • Fiji • Iran • Lithuania Herzegovina • Cote d'Ivoire • Finland • Iraq • Luxembourg • Botswana • Croatia • France • Ireland • Brazil • Cuba • Israel - M – • Brunei • Cyprus - G - • Italy

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• Macedonia • Seychelles • Zimbabwe81 • Madagascar - P - • Sierra Leone • Uganda • Malawi • Singapore • Ukraine • Malaysia • Pakistan • Slovak • United Arab • Mali • Palau Republic Emirates • Malta • Panama • Slovenia • United • Marshall • Papua New • Solomon Kingdom Islands Guinea Islands • Uruguay • Mauritania • Paraguay • Somalia • Uzbekistan • Mauritius • Peru • South Africa • Mexico • Philippines • Spain - V - • Micronesia • Poland • Sri Lanka • Moldova • Portugal • Sudan • Vatican City • Mongolia • Suriname (see The Holy • Morocco - Q - • Swaziland See) • Mozambique • Sweden • Venezuela • Myanmar • Qatar • Switzerland • Vietnam • Syria - N - - R - - W - - T - • Namibia • Romania • Western Samoa • Nauru • Russia • Taiwan • Nepal • Rwanda • Tajikistan - X - • The • Tanzania Netherlands - S - • Thailand - Y - • New Zealand • Togo • Nicaragua • Saint Kitts and • Tonga • Yemen 81 Electronic • Niger Nevis • Trinidad and • Yugoslavia Embassy, A source of • Nigeria • Saint Lucia Tobago and for Washington, • Norway • Saint Vincent • Tunisia - Z - D.C. Foreign and the • Turkey Embassy Community. - O - Grenadines • Turkmenistan • Zambia http://www.embassy.o • Saudi Arabia rg (accessed April 23, • Oman • Senegal - U - 2007).

121 Appendix B Transferred Culture

Kenneth Frampton, in the essay Prospects for a Critical Regionalism from the book Theorizing A New Agenda For Architecture, looks at importance of critical regionalism. In architectural theory, regionalism in a society is defined as a link between political consciousness and profession. Critical regionalism is a condition in architectural language which is created through an abundance of elements and an awareness of identity. As a result of cultural, economic and political universalization, the development of the critical regionalism theory has spread globally. Frampton explains: “There is the paradox: how to become modern and to return to sources; how to revive an old, dormant civilization and take part in universal civilization…”82 Another influential individual named by Kenneth Frampton in this essay is Paul Ricoeur, who has identified the growth of critical regionalism. His philosophy is that: “a hybrid ‘world culture’ will only come into being through cross-fertilization between rooted cultures on the one hand and

82 Kenneth Frampton, “Prospect for a Critical Regionalism.” Theorizing a New Agenda for Architecture: An Anthology of Architecture Theory 1965-1995. Ed. Kate Nesbitt. (New York: Princeton Architectural Press, 1996), 471.

universal civilization on the other.”83 To him the hybrid culture is an outcome of reaction and adaptation of one culture in different regions. Critical regionalism shares some similar characteristics with vernacular architecture, as there is a fine line between the two expressions. One main element that separates the concept of critical regionalism from the concept of vernacular architecture is reaction and adaptation. Also the other difference in the understanding of vernacular architecture is the type of architecture that has become a nostalgic form of practice in some countries. Rather than keeping the true identity of local or global elements, it blindly represents random characters from other cultures. The vernacular architecture is an outcome of architectural development in one specific region, whereas critical regionalist architecture appreciates the native forms of architecture outside its settings. Critical regionalism practice is born in a specific region based on climate, location and culture, which are essential transferable characteristics according to the “phenomenon of universalization”.84 Even though as a concept critical regionalism is universally understood, its theory has had different affects globally85. In the U.S. there are few

83 Ibid., 471. 84 Ibid. 85 For example Harry Wolf’s work in North America has become an icon for the critical regionalism. Wolf might not appear to practice on the same philosophical basis, but his recent work on the Fort Lauderdale Riverfront Plaza brings forth this concept, which illustrates his attention to the sense of place, and understanding historical context and elements.

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individuals whose works are representation of their sensitivity and understanding toward regionalism. In reference to another essay about critical regionalism, the writers and critics Alexander Tzonis and Liane Lefaivre have looked at Regionalism within time and location. The most important variable becomes “Place” in contemporary critical regionalism, “whose definition goes beyond ethnicity”86. To them, as the world’s globalization happens, Regionalism needs to be expressed differently. In the essay, Why Critical Regionalism today? They explain critical regionalism theory in the contemporary setting of regions: “a response to a new problem posed by contemporary global development of which it is strongly critical, and that the poetics of this new movement are to a great extent different from if not antithetical to other architectural regionalist techniques of the past.”87 Basically, there is a difference between past and present critical regionalism: reaction to the characters of changing regions, their economies and transference of specific identity led by globalization. The difference between past and present society means understanding time and cultural changes. Following the same topic Frampton reveals the similar idea of regionalism in his essay, as he says: “The fundamental strategy of Critical Regionalism is to mediate the impact of universal

86 Alexander Tzonis and Liane Lefaivre. “Why Critical Regionalism today?” Theorizing a New Agenda for Architecture: An Anthology of Architecture Theory 1965-1995. Ed. Kate Nesbitt. ( New York: Princeton Architectural Press, 1996). 486. 87 Ibid., 485.

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civilization with elements derived indirectly from the peculiarities of a particular place. It is clear from the above that Critical Regionalism depends upon maintaining a high level of critical self-consciousness. It may find its governing inspiration in such things as the range and quality of the local light, or in a tectonic derived from a peculiar structural mode, or in topography of a given site.”88

88 Ibid., 490.

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Appendix C About Shähnmeh

It’s been said that Hakim Abu’l Qassem Ferdosi’s style is that of a “superb poet”. The dialog that Ferdosi created in the Shähnmeh became an icon of Iranian identity and this manuscript became one of the most read books. The importance of this celebrated collection is laid in its organization, system of storytelling and reference to myth, history and heroism of kings, individuals and specific characters that are associated with Persians before the arrival of Islam. For Ferdosi to represent those characteristics better he shaped the entire work in three different sections. According to the Ferdosi Society the three “ages” are as follow:

• The mythical age • Heroic age • Historical age

According to the Ferdosi Society, which has performed serious and detailed studies on the Shähnmeh Ferdosi, the language was strictly woven with the structure of poetry to highlight various aspects of Iranian traditional lifestyle and philosophy. As an overall view into Shähnmeh, the Society divides it into three segments based on the language that each follows:

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The mythical age After an opening in praise of God and Wisdom, the Shahnameh gives an account of the creation of the world and of man as believed by Sassanians. This introduction is followed by the story of the first man, Gayumarth, who also became the first king after a period of mountain dwelling. He accidentally discovered fire and established the Sadeh Feast in its honor. Stories of Tahmureth, Jamshid, Zahhak, Kaveh, Freidun and his three sons: Salm, Tur, and Iraj, and Manuchehr are explained in this section. This portion of the Shahnameh is relatively short, amounting to some 2100 verses or four percent of the entire book, and it narrates the events with the simplicity, predictability, and swiftness of a historical work. Naturally, the strength and charm of Ferdosi’s poetry have done much to make the story of this period attractive and lively.

The heroic age Almost two-thirds of the Shahnameh is devoted to the age of heroes, extending from Manuchehr’s reign until the conquest of Alexander. The main feature of this period is the major role played by the Sagzi (Saka) or Sistani heroes who appear as the backbone of the Iranian empire. Garshasp is briefly mentioned as is his son Nariman, whose own son Sam acted as the leading paladin of Manuchehr while reigning in Sistan in his own right. His successors were his son Zal and his son Rostam, the bravest of the brave, and then Faramarz. The feudal society in which they lived is admirably depicted in the Shahnameh with accuracy and lavishness. Indeed, Ferdosi’s descriptions are so vivid and impressive that the reader feels himself participating in the events or closely viewing them. The tone is significantly epic and moving, while the language is extremely rich and varied. Among the stories described in this section are the romance of Zal & Rudabe, the Seven Stages (or Labors) of

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Rostam, Rostam and Sohrab, Siavash and Sudabe, Rostam and Akvan Div, the romance of Bijan and Manije, the wars with Afrasiab, Daqiqi’s account of the story of Goshtasp and Arjasp, and Rostam and Esfandyar. It is noteworthy to mention that the legend of Rostam and Sohrab is attested only in the Shahnameh and, as usual, begins with a lyrical and detailed prelude. Here Ferdosi is in the zenith of his poetic power and has become a true master of storytelling. The thousand or so verses of this tragedy comprise one of most moving tales of world literature.

The historical age A brief mention of the Ashkanian (Arsacids) follows the history of Alexander and precedes that of Ardeshir. After this, the Sassanian history is related with a good deal of accuracy. The fall of the Sassanian and the Arab conquest are narrated romantically, and in a most moving poetic language. Here, the reader could easily see Ferdosi himself lamenting over this catastrophe, and over what he calls the arrival of ‘the army of darkness’.89

Ferdosi has created an effective dialogue between his poetry and the audience. His message is clear and vivid, telling the story in a manner that is appealing, innovative and extremely sensual. The effectiveness of his stories lies beneath the ‘tone and language’ of his writing. His regards for the Iranian traditions and history derived the finest works of literature for Persia and beyond. He also celebrates each region of Iran, from the eastern borders to the western sides of the country, from the Caspian Sea to Persian Gulf: “From Kabol and Zabol and Sistan through the Persian

89 Ferdosi Society. About Shahnameh, http://www. http://www.ferdosi.org/WWW/fshahnameh.html (accessed April 23, 2007).

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heart-lands to the Caspian Sea at Mazandaran and again northward across the Oxus into Turanian plains, Ferdosi united in a fairly consistent whole the essential memories of that area which his contemporaries were prepared to think of as the lands of Iran.”90 In another area, the society explains that the Shähnmeh not only saved the tradition, language and history of one country within its body, but also revived and immortalized the character of a nation. He did not want the history of Iran to lose its connection from future generations. Ferdosi repeatedly asks the readers to remember the past to improve the present and shape a better future for the country. He continuously presents the moral values and ethics by presenting stories from the past or historical circumstances: “The Shahnameh stresses that since the world is transient, and since everyone is merely a passerby, one is wise to avoid cruelty, lying, avarice, and other evils; instead one should strive for justice, truth, order, and other virtues which bring happiness, ease, and honor.”91 The Ferdosi Society lists the main characteristics of the Shähnmeh based on its validity of information, faithfulness to Persian traditions and effectiveness of the story. For the poet, it was important to be able to write about the incidents as they happened as well as being able to make an impression by telling them. Even though the stories are

90 Ferdosi Society, About Shahnameh , http://www.ferdosi.org/WWW/fshahnameh.html (accessed April 23, 2007). 91 Ferdosi Society, Characteristics of Shahnameh, http://www.ferdosi.org/WWW/fcharacteristic.html (accessed April 23, 2007).

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emotional, sensual and expressive, he did not change or modify them. He has tried to maintain the truth by telling it in a rich and vivid language. According to the Society, Ferdosi’s distinct style is “strict adherence to his sources” and his language has maintained the “poetic forms”. Ferdosi’s main goal that inspired him to spend his life writing such a lavish and rich epical poetry was to save the Persian traditions combining with the Islamic traditions. During his life he remained truthful to the Zoroastrian traditions, which he saw as the true Persian tradition. Iran was the birthplace of the Zoroaster and it is believed this religion united Iranians prior to arrival of Islam. He was one of the great advocates of this religion, which by writing the Shähnmeh he created an “Avoidance of Islamicization” for the Persian traditions.92 According to studies on Shähnmeh and surviving information from Ferdosi’s manuscript, the original collection had “little over fifty thousand distiches”. Before his death, in his old age and living in poor conditions, Ferdosi sent the original manuscript to the court of Soltan Mahmud to immortalize his life-long masterpiece. He believed that only an influential individual such as the King could save and pass on the Shähnmeh to future generations. In the beginning of Shähnmeh he has a section attributed to Soltan Mahmud. One can understand that Ferdosi maintained his goal to save the traditions and his masterpiece by

92 Ferdosi Society, About Shahnameh, Paragraph 11, http://www.ferdosi.org/WWW/fshahnameh.html (accessed April 23, 2007).

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presenting that to the King. Nezami-Aruzi, a well-known poet reports that the final edition of the Shahnameh sent to the court of Soltan Mahmud was prepared in seven volumes.93 The research concludes that Soltan Mahmud didn’t stay true to his promise and send the poet back to Toos without taking the finished work or paying him. Ferdosi retuned to his town and died shortly afterwards. In the mean while Soltan Mahmud, with regret in breaking the promise to Ferdosi, sent his servants with money and proper apologies to Toos. But when they got there, the family was carrying Ferdosi’s body for the funeral ceremony.94 Half a century of work was an attempt to immortalize the Persian language that immortalized Ferdosi’s legacy. Hakim Abu’l ghasem Ferdosi was berried in Toos, province of khorasan. A memorial statue and mausoleum were dedicated to him.

93 Ferdosi Society. About Shahnameh, http://www.ferdosi.org/WWW/fshahnameh.html (accessed April 23, 2007). 94 Hakim Abu’l ghasem Ferdosi, Shahnameh: Opening of the Book. Poems. Par. 3

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Fig. 7 b- Silk Road, History of Iran. http://www.iranchamber.com/history/articles/silk_road.php (accessed Cover Image, ramps and movement concept diagram. Personal April 23, 2007). photograph by author. 2007 Fig. 8- Mohammad, Dust. The story of Haftvad and the worm, Fig. 1- Bazaar Tehran, Iran, http://www.babyloniangal.com Images from Shähnmeh. (accessed April 23, 2007). http://www.persia.org/Images/Shähnmeh/Shähnmeh.html (accessed April 23, 2007). Fig. 2- Diba, Kamran, Tehran Museum of Contemporary Arts, 1977, Tehran. Jodido, Philip. Iran: Architecture for Changing Societies. Fig. 9- Nushirvan receives an embassy from the king of Hind, Images Aga Khan Award for Architecture. (Italy: Umberto Allemandi & C., from Shähnmeh. 2004), Back cover. http://www.persia.org/Images/Shähnmeh/Shähnmeh.html (accessed April 23, 2007). Fig. 3- Sho’ara (the Poets), Tabriz, http://www.iranchamber.com/provinces/08_east_azarbaijan/08_east_ Fig. 10- Statue of Hakim Abu’l Ghasem Ferdosi, Mashad. azarbaijan.php (accessed April 23, 2007). http://www.iranchamber.com/literature/ferdowsi/ferdowsi.php (accessed April 23, 2007) Fig. 6- Culture and Building collage. Personal photograph by author. Fig. 4- Tajvidi, Hadi. Ferdosi and other poets at the court of Sultan 2007 Mahmud of Ghazna. 1936. 26 Feb 1997 http://www.persia.org/Images/Miniature/miniature.html (accessed April 23, 2007). Fig. 11- Ferdosi Tomb, Mashad. http://www.iranchamber.com/literature/ferdowsi/ferdowsi.php Fig. 5- Tomb of Omar Khayyam, Iran. http://www.mssimmons.com/ms/Iran/Iran2002/Neishabour/Omar_K Fig. 12- Ferdosi, Hakim Abu’l Ghasem, Shähnmeh, Cover of hayyam_tomb.html (accessed April 23, 2007). Ferdosi’ Shähnmeh (Epic of Kings), http://en.wikipedia.org/wiki/Iranology (accessed April 23, 2007).

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Fig. 13- Diagram of Shähnmeh poetry, Line and hemistich in Fig. 20- Pavilion and pool of Fath ‘Ali Shah, Nineteenth century, Shähnmeh. Personal photograph by author. 2006. Isfahan. Palaces and Gardens of Persia by Yves Porter and Arthur Theven, (Spain: Flammarion, 2004), 115. Fig. 14- Diagramming the structure of poetry, two hemistiches becomes one line and lines making the poetry with parallel Fig. 21- Miniature of a Garden, Building, boundary and garden. composition; a place to enter and a place to exit the poetry. Personal Palaces and Gardens of Persia by Yves Porter and Arthur Theven, photograph by author. 2006. (Spain: Flammarion, 2004), 10.

Fig. 15- Diagram of movement and punctuations in poetry. Personal Fig. 22- Ando, Tadao and James Turrell. Skylight, Chichu Art photograph by author. 2006. Museum, Japan. The Chichu Art Museum by Tas Skorupa editor, (Germany: Hatje Cantz Verlag, 2005) Fig. 16- Diagram of smooth movement in Poetry. Personal photograph by author. 2006. Fig. 23- Ando, Tadao and James Turrell. Window, Chichu Art Museum, Japan. The Chichu Art Museum by Tas Skorupa editor, Fig. 17a&b- Shähnmeh, 2 lines from first part of Shähnmeh. (Germany: Hatje Cantz Verlag, 2005) Personal photograph by author. 2006. Fig. 24- Ando, Tadao and James Turrell. Floor pattern, Chichu Art Fig. 18- Diagramming metaphors in poetry, where they stand out of Museum, Japan. The Chichu Art Museum by Tas Skorupa editor, structure and embellish the storyline. Personal photograph by author. (Germany: Hatje Cantz Verlag, 2005) 2006. Fig. 25a - Hamilton, Ann. Lineament. 1994-96. Fig. 19 a - Hasht Behesht, or the “Eight Paradise”, the recently http://www.altx.com/ebr/ebr3/media/line1.jpg (accessed April 23, renovated pavilion stands in the middle of a garden, Isfahan. Palaces 2007). and Gardens of Persia by Yves Porter and Arthur Theven, (Spain: Flammarion, 2004), 107. Fig. 25 b- Hamilton, Ann. Lineament. 1994-96. http://www.miamiartmuseum.org/collection-selected- Fig. 19 b- Hasht Behesht, or the “Eight Paradise”, the recently hamiltonann.asp (accessed April 23, 2007). renovated pavilion stands in the middle of a garden, Isfahan. Palaces and Gardens of Persia by Yves Porter and Arthur Theven, (Spain: Fig. 26- Hamilton, Ann. Ghost…a boarder act. 2000. Virginia Flammarion, 2004), 107. http://hey.ionly.com.cn/read.php?tid-10055.html (accessed April 23, 2007).

Fig. 27- Koolhaas, Rem. Dutch Embassy. 2003. Berlin. The Content by Rem Koolhaas and OMA. (Taschen, 2006).

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Fig. 28- Diagram of movement. Personal photograph by author. Fig. 37 a- Trajectory diagram. The Dutch Embassy in Berlin by 2006. OMA/Rem Koolhaas by Francois Chaslin, (Rotterdam: Nai, 2004), final page. Fig. 29- Diagram of relationship. Personal photograph by author. 2006. Fig. 37 b- Trajectory diagram. Personal photograph by author. 2006.

Fig. 30- Koolhaas, Rem. The Dutch Embassy, 2003. Site Plan, Fig. 38- Material diagram. Personal photograph by author. 2006. Berlin. The Dutch Embassy in Berlin by OMA/Rem Koolhaas by Francois Chaslin, (Rotterdam: Nai, 2004), 132. Fig. 39- Koolhaas, Rem. The Dutch Embassy, 2003. View tunnel of the Residence looking at the Alexander television tower, Berlin. The Fig. 31- Koolhaas, Rem. The Dutch Embassy, 2003.Trajectory, Dutch Embassy in Berlin by OMA/Rem Koolhaas by Francois Berlin. The Dutch Embassy in Berlin by OMA/Rem Koolhaas by Chaslin, (Rotterdam: Nai, 2004), 13. Francois Chaslin, (Rotterdam: Nai, 2004), 122-123. Fig. 40- Koolhaas, Rem. The Dutch Embassy, 2003. Office, Berlin. Fig. 32- Koolhaas, Rem. The Dutch Embassy, 2003. Street View, Embassy of Netherlands by Iwan Baan, http://www.iwan.com Berlin. 12 March 2000, (accessed April 23, 2007). http://www.cambridge2000.com/gallery/html/P31211871e.html (accessed April 23, 2007). Fig. 41- Koolhaas, Rem. The Dutch Embassy, 2003. Trajectory’s Glass walkway. http://www.oma.eu (accessed April 23, 2007). Fig. 33- Koolhaas, Rem. The Dutch Embassy, 2003. Interior of Trajectory, Berlin. The Dutch Embassy in Berlin by OMA/Rem Koolhaas by Francois Chaslin, (Rotterdam: Nai, 2004), 82-83. Fig. 42- Koolhaas, Rem. The Dutch Embassy, 2003. Night view from the Spree River by Christian Richters, http://www.news.cornell.edu Fig. 34- Koolhaas, Rem. The Dutch Embassy, 2003. East Façade, (accessed April 23, 2007). Berlin. The Dutch Embassy in Berlin by OMA/Rem Koolhaas by Francois Chaslin, (Rotterdam: Nai, 2004), 16-17. Fig. 43 a & b- Heikkinen, Mikko and Markku Komonen, Finnish Embassy, scale models.1994, Washington, D.C. Heikkinen + Fig. 35- Koolhaas, Rem. The Dutch Embassy, 2003.West Façade, Komonen by Juhani Pallasmaa. William Morgan editor, (New York: http://www.oma.eu (accessed April 23, 2007). The Monacelli Press, 2000), 118.

Fig. 36- Koolhaas, Rem. The Dutch Embassy, 2003. Trajectory’s Fig. 44 a & b- Heikkinen, Mikko and Markku Komonen, Finnish Glass Walkway, http://www.oma.eu (accessed April 23, 2007). Embassy, scale models. 1994, Washington, D.C. Heikkinen &

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komonen, Embassy of Finland: Washington D.C. by Peter Davey, Fig. 51a- Heikkinen, Mikko and Markku Komonen, Finnish 1990-1994 (Spain: Editorial Gustavo Gili, 1994), 57. Embassy, Central stair image.1994, Washington, D.C. http://www.glasssteelandstone.com/BuildingDetail/348.php Fig. 45- Heikkinen, Mikko and Markku Komonen, Finnish Embassy, (accessed April 23, 2007). Outdoor area, 1994, Washington, D.C. http://www.heikkinen- komonen.fi/Washington/washington_e.htm (accessed April 23, Fig. 51b- Heikkinen, Mikko and Markku Komonen, Finnish 2007). Embassy, Top of the Staircase (opposite direction). 1994, Washington, D.C. Heikkinen + Komonen by Juhani Pallasmaa. Fig. 46- Finnish Embassy, Diagram of site, grid and lights Personal William Morgan editor, (New York: The Monacelli Press, 2000), photograph by author. 2007. 125.

Fig. 47- Heikkinen, Mikko and Markku Komonen, Fig. 52- Heikkinen, Mikko and Markku Komonen, Finnish Embassy, Finnish Embassy, Office Space and window details.1994, Upper level interior corridor.1994, Washington, D.C. Heikkinen + Washington, D.C. Heikkinen + Komonen by Juhani Pallasmaa. Komonen by Juhani Pallasmaa. William Morgan editor, (New York: William Morgan editor, (New York: The Monacelli Press, 2000), The Monacelli Press, 2000), 123. 123. Fig. 53- Heikkinen, Mikko and Markku Komonen, Finnish Embassy, Fig. 48 - Heikkinen, Mikko and Markku Komonen, Finnish Ground level interior corridor.1994, Washington, D.C. Heikkinen + Embassy, Bronze trellis and glass blocks.1994, Washington, D.C. Komonen by Juhani Pallasmaa. William Morgan editor, (New York: Heikkinen + Komonen by Juhani Pallasmaa. William Morgan editor, The Monacelli Press, 2000), 124. (New York: The Monacelli Press, 2000), 120. Fig. 54- Stone, Edward. U.S. Embassy, Façade. India, 1959. Building Fig. 49- Heikkinen, Mikko and Markku Komonen, Finnish Embassy, Diplomacy: The Architecture of American Embassies by Elizabeth Interior Model.1994, Washington, D.C. Heikkinen & komonen, Gill Lui (California: Four Stops Press, 2003), 32. Embassy of Finland: Washington D.C. by Peter Davey, 1990-1994 (Spain: Editorial Gustavo Gili, 1994), 55. Fig. 55- Stone, Edward. U.S. Embassy, Façade. http://www.nbm.org/blueprints/fall96/page6/page6.htm (accessed Fig. 50- Heikkinen, Mikko and Markku Komonen, Finnish Embassy, April 23, 2007). Intricate stair image.1994, Washington, D.C. Heikkinen & komonen, Emabssy of Finland: Washington D.C. by Peter Davey, 1990-1994 Fig. 56- Stone, Edward. U.S. Embassy, Interior space. India, 1959. (Spain: Editorial Gustavo Gili, 1994), 54. Building Diplomacy: The Architecture of American Embassies by Elizabeth Gill Lui (California: Four Stops Press, 2003), 162.

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Fig. 57- Diagram of geometry and symmetry. Personal photograph Fig. 66- Amanat, Hussein. Iran Embassy, Interior detail. 1983, by author. 2006. China, 1987 http://archnet.org/library/images/oneimage.tcl?location_id=3162&im Fig. 58- Diagram of geometry and façade. Personal photograph by age_id=23650&start=1&limit=9 (accessed April 23, 2007). author. 2006. Fig. 67- Amanat, Hussein. Iran Embassy, Plan of the embassy. 1983, Fig. 59- Façade texture. Personal photograph by author. 2006. China, http://www.amanatarchitect.com/embassy.html (accessed April 23, 2007). Fig. 60- Stone, Edward. U.S. Embassy, Façade. India, 1959. Edward Durrel Stone, The Evolution of an Architect. (New York: Horizon Fig. 68- Amanat, Hussein. Iran Embassy, Arched door. 1983, China, Press, 1962), 1. 1987 http://archnet.org/library/images/oneimage.tcl?location_id=3162&im Fig. 61- Amanat, Hussein. Iran Embassy, Main view to the Embassy age_id=23650&start=1&limit=9 (accessed April 23, 2007). of Iran, China, 1987. http://archnet.org/library/images/oneimage.tcl?location_id=3162&im Fig. 69 a & b- Diagram façade, symmetry and geometry. Personal age_id=23650&start=1&limit=9 (accessed April 23, 2007). photograph by author. 2006.

Fig. 62- Amanat, Hussein. Iran Embassy, Garden view. 1983, China, Fig. 70 a & b- Diagram façade, symmetry and geometry. Personal http://www.amanatarchitect.com/embassy.html (accessed April 23, photograph by author. 2006. 2007). Fig. 71- Ali Qapu, Site plan, Isfahan.1688. The Sense of Unity: The Fig. 63- Amanat, Hussein. Iran Embassy, Garden view at night. Sufi Tradition in Persian Architecture by Nader Ardalan and Laleh 1983, China, http://www.amanatarchitect.com/embassy.html Bakhtiar, (Chicago: The University of Chicago, 1973), 127. (accessed April 23, 2007). Fig. 72- Ali Qapu, Site plan.1688. The Sense of Unity: The Sufi Fig. 64- Amanat, Hussein. Iran Embassy, Side facade. 1983, China. Tradition in Persian Architecture by Nader Ardalan and Laleh 1987. Bakhtiar, (Chicago: The University of Chicago, 1973), 98. http://archnet.org/library/images/oneimage.tcl?location_id=3162&im age_id=23650&start=1&limit=9 (accessed April 23, 2007). Fig. 73 a - Ali Qapu, Site plan (larger image). 1688. The Sense of Unity: The Sufi Tradition in Persian Architecture by Nader Ardalan Fig. 65- Amanat, Hussein. Iran Embassy, Detail of exterior. 1983, and Laleh Bakhtiar, (Chicago: The University of Chicago, 1973), 98. China, http://www.amanatarchitect.com/embassy.html (accessed April 23, 2007). Fig. 73 b - Ali Qapu, 1688, Isfahan. Plan and geometry. Personal photograph by author. 2006.

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Fig. 74- Ali Qapu, Detail of ceiling.1688, Isfahan. Jodido, Philip. Fig. 83- Detail of the existing facade. Personal photograph by author. Iran: Architecture for Changing Societies. Aga Khan Award for 2006. Architecture. (Italy: Umberto Allemandi & C., 2004), 3. Fig. 84- Detail of the existing facade. Personal photograph by author. Fig. 75- Ali Qapu, Façade and Bazaar. 1688. Architecture and 2006. Community: Building in The Islamic World Today, Renata Holod and Darl Rastorfer, Eds. Aga Khan Award for Architecture. (New Fig. 85- Light and street signs. Personal photograph by author. 2006. York: 1983) Fig. 86- Arial view of the existing embassy, Google Earth, 2006. Fig. 76- Ali Qapu, Façade.1688 Porter, Yves and Arthur Theven, Palaces and Gardens of Persia, (Spain: Flammarion, 2004), 95. Fig. 87- 360-degree view of the proposed site, Massachusetts Avenue. Personal photograph by author. 2006. Fig. 77- Ali Qapu. Interior detail.1688, Isfahan. Architecture and Community: Building in The Islamic World Today, Renata Holod Fig. 88- Heikkinen, Mikko and Markku Komonen, Finnish Embassy, and Darl Rastorfer, Eds. Aga Khan Award for Architecture. (New Upper level interior corridor.1994, Washington, D.C. York: 1983) http://www.heikkinen- komonen.fi/Washington/washington_images_e.htm (accessed April Fig. 78- Ali Qapu, Façade. 1688, Isfahan. Dimensions and geometry. 23, 2007). Personal photograph by author. 2006. Fig. 89- Brazilian Embassy. Personal photograph by author. 2006. Fig. 79- Washington, D.C. grid. The Sacred Geometry of Washington, D.C.: The Integrity and Power of the Original Design Fig. 90- National Cathedral. Personal photograph by author. 2006. by Nicholas R. Mann, (England: Green Magic, 2006), cover. Fig. 91- Existing Iranian Embassy, Personal photograph by author. Fig. 80- Diagram of grid of the complex. The Sacred Geometry of 2006. Washington, D.C.: The Integrity and Power of the Original Design Fig. 92- Site plan, AutoCAD. Personal photograph by author. 2007. by Nicholas R. Mann, (England: Green Magic, 2006), vii.

Fig. 93- Site plan. Personal photograph by author. 2007. Fig. 81- Diagram of grid of the complex. The Sacred Geometry of Washington, D.C.: The Integrity and Power of the Original Design Fig. 94- Site model. Personal photograph by author. 2007. by Nicholas R. Mann, (England: Green Magic, 2006), back cover. Fig. 95- Place. Personal photograph by author. 2007. Fig. 82- Massachusetts Avenue and Naval Observatory, DC GIS

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Fig. 96- Space. Personal photograph by author. 2007. Fig. 105- Sections. Personal photograph by author. 2007. Fig. 97- Ramps. Personal photograph by author. 2007. Fig. 106- Model, view from back looking toward the Embassy. Fig. 98- Concept model Movement and ramp. Personal photograph Personal photograph by author. 2007. by author. 2007. Fig. 107- Model, Arial view of the site. Personal photograph by Fig. 99 – Site and concept model. Personal photograph by author. author. 2007. 2007.

Fig. 100- Concept model for Movement and ramp. Three different Fig. 108- Model, view from front of the Embassy. Personal sections of Shähnmeh and ramps. Personal photograph by author. photograph by author. 2007. 2007. Fig. 101- Punctuation and walls. Personal photograph by author. Fig. 109- Model, structure of façade. Personal photograph by author. 2007. 2007.

Fig. 102- Plans. Personal photograph by author. 2007. Fig. 110- Model, organization of the form. Personal photograph by author. 2007.

Fig. 103- Elevations. Personal photograph by author. 2007. .

Fig. 104- Model, view from Massachusetts Avenue. Personal photograph by author. 2007.

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